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±1 ci_
I
I
^ LETTER FROM SHIRLEY TEMPLE
DECEMBER
lO
CENTS
THE LARGEST
CIRCULATION
OF ANY SCREEN
MAGAZINE
DURBIN
a<f a. DOCTOR cwed . . .
1 J
A NY ONE of the charming Dionne Qyintuplets would make a mother's
M X eyes beam with pride were she her own child. These wonder
children of the world are startling living examples of what new-day
knowledge will do for babies. Proper feeding, care and training combine
to develop completely the peak possibilities of every child. The fact
that Karo Syrup has been an important food in their daily diet is con-
vincing evidence of the remarkable food-energy value of this delicious \
Table Syrup. Karo is rich in Dextrose, which is known as "muscle" sugar.
Dextrose quickly provides material for energy, wards off fatigue,
sustains activity. Both Blue Label and Red Label Karo are equally rich
in Dextrose.
Such excUemeni ! Crovded
around the hroadcafil in^ mi-
crophone, the " Quinis are
curious, elated and ea^er to
know "what it' s all ahoui .
A "swin^ lull" o/
loveliness—all five
lots love to pose
for pictures. They radiate
health and pevsonalil y.
World Copyright, 1937,
NEA Service, Inc.
THE GREAT FOOD
Cj rocers evei'vw
sell Karo. It' s as
nomical as it is
CIO us and energi
SYRUP
MODERN SCREEN
She evades close-ups. ..Dingy teeth and tender gums destroy her
charm ... She ignored the warning of "PINK TOOTH BRUSH"
PERHAPS you've seen her— this girl
whose wistful beauty captures the
eager glance. You stare— a little breath-
less—waiting for that smile which will
light up, intensify, her loveliness.
And then it comes— but with what bit-
ter disappointment! For her smile is dull,
dingy. It erases her beauty as if a candle
had been blown out... another tragedy
of dental ignorance or neglect.
NEVER NEGLECT "PINK TOOTH BRUSH"
The warning may some day come to you
— that faint tinge of "pink" upon your
tooth brush. It may seem harmless, triv-
ial, unimportant — but never ignore it!
At the first sign of "pink tooth brush"
—see your dentist. It may not mean trouble
ahead, but let him decide. Modern menus
—from which hard, fibrous foods have
largely disappeared — are robbing your
gums of necessary work. They've grown
flabby, sensitive. "Pink tooth brush" is
simply their plea for help. And usually
your dentist's suggestion will be "more
exercise, more vigorous chewing" and,
very often, the added suggestion, "the
stimulating help of Ipana and massage."
For Ipana, with massage, is designed
to benefit your gums as well as clean your
teeth. Massage a little Ipana into your
gums every time you brush your teeth.
Circulation within the gums increases-
helps bring a new healthy firmness to the
gum walls.
Why not take steps now to help pro-
tect yourself against tender, ailing gums?
Make Ipana and massage a part of your
daily routine. With your gums healthy
and sound, your teeth sparklingly clean-
there can be no disappointment, nothing
to mar the beauty of your smile.
• • •
LISTEN TO "Town Hall Tonight," every Wed-
nesday, N.B.C. Red Network, 9 P. M., E. S. T.
NOV -3 1937
©CIB 354886
G-E MAZDA LAMPS
Begin to enjoy new eye-comfort
tonight: Fill up empty sockets and
replace burned out bulbs with
brand-new G-E MAZDA lamps.
As a result of recent improvements
made by General Electric research,
the 1937 G-E MAZDA lamps give you
MORE LIGHT ... at no extra cost for
electric current and no increase in
price. For example, the 60-watt size
gives you 10% more light than it did
last year, yet it still costs only 1 5 cents.
Get a fresh supply today. And when
you buy, look for the G-E trademark.
Then you will be sure to get lamps
that Stay Brighter Longer.
MODERN SCREEN
Copyriaht. ^ 193 7, by Dell Publishina Co., Inc.
Regina Cannon Editor
Leo Townsend Hollywood Editor
Abril Lamarque Art Editor
NOW SHOWING
MANAGING MILTON 12
THAT GIRL'S HERE AGAIN 18
THE MISTAKES OF MADELEINE 26
LAUGHING THE WHOLE THING OFF 28
SINGING STOIC 30
A LETTER FROM SHIRLEY 32
M'LADY— MINUS MAKE-UP 34
MONTGOMERY IN A MELLOW MOOD 36
DIETRICH GOES UGHT-HEARTED? 38
GETTING THE BREAKS 40
THIRD BEGINNING 41
PERSONALITY— BETTER THAN BEAUTY 42
BUOYANT BATTLER 44
BEHE DAVIS' TRUE LIFE STORY 45
SHORT SUBJECTS
OUR PUZZLE PAGE 6
GOING TO A PARTY? 8
REVIEWS 10
GOOD NEWS 14
PORTRAIT GALLERY 21
FOODS TO THE FORE 62
INFORMATION DESK 64
BETWEEN YOU 'N' ME 66
FOR BED AND BRIDGE 68
MOVIE SCOREBOARD 70
DATE NIGHT 78
MACK HUGHES .
VIRGINIA T. LANE
BENJAMIN MADDOX
IDA ZEITLIN
FAITH SERVICE
IDA ZEITLIN
LOIS SVENSRUD
CAROLINE S. HOYT
JAMES REID
VIRGINIA WOOD
ROBERT MclLWAINE
MARY MARSHALL
GEORGE BENJAMIN
GLADYS HALL
MOVIF X-WORD
JUNE LANG IS
FILM GUIDE
MOVIE CHATTER
OF YOUR FAVORITES
ON THANKSGIVING
THE ANSWER MAN
PRIZE LETTERS
BUSY NEEDLES
CRITICS' RATINGS
BOY MEETS GIRL
Modern Screen, No. 301773. Published rr.onthly by Dell Publishins Company
Incorporated. Office of publication at Wasfiington and Soutfi Avenues Dunellen
N J Executive and editorial offices, 149 Madison Avenue, N. y. Chicago, III.,
office 360 N. Michigan Avenue. George T. Delacorte, Jr., President, H. Meyer,
Vice-President J F Henry, Vice-President, M. Delacorte, Secretary Vol 16,
No 1 December, 1937. Printed in the U. S A. Price in the United States, $1.00
a year, 10c a copy. Canadian subscriptions, $1 .00 o year. Foreign subscriptions,
$2 00 a year Entered as second class matter, September 18, 1930, at the Post-
office Dunellen, New Jersey, under act of March 3, 1879. The publishers accept
no responsibility for the return of unsolicited material. Sole foreign Agents: I he
International News Company, Ltd., 5 Breams Building, London, h.C. 4, England.
Names of characters used in stories and in humorous and semi-fictionol matter are
fictitious. If the name of a living person is used it is purely a coincidence.
GENERAL @ ELECTRIC
- MAZDA LAMPS
4
MODERN SCREEN
'aS cas^ '^^o P^^^lavets and .vJaUace
3i\\ieD^^ .-unlove sto^^^ VlllJ^^ 9^
..M" loan*-' .Soeocei ^" BIOS'' °, "
'^"^ , - . .e"_..stai"««^' an, S^^i
*'^^ait V<"1 and M=
MODERN SCREEN
OUR PUZZLE
ACROSS
19.
20.
22,
23.
25,
27.
28.
29.
30.
32.
34.
35.
37,
40,
42.
44.
45.
46.
49.
51.
52.
56.
58.
& 5. The hero of this puzzle
Defensive ditch
Cinema
Subtle emanations
Irish star of "The Perfect Speci-
men"
Youngest daughter in "Call It A
Day"
Swedish star of "Conquest"
Slow-talking Negro comedian
Fred Stone's daughter in "Hide-
away"
Ex-Mrs. Gable's first name
"A Farewell to - - - -"
Altar end of a church
Period of time
"- - - in a Million"
Mae West wrote "Diamond - - -"
Affirmative vote
Summer: Fr.
V-shaped member
Male star of "Double Wedding"
Kay Francis' latest is " I.ady"
Metallic rock
Cowboy star whose first name is
Tom
" Love I'm After"
Extend over
Near: abbr.
Director of "Love Takes Flight";
initials
Ann Sothern's real last name
Texas-born blond juvenile; first name
John
Clings
90.
91.
93.
94.
96.
97.
99.
101.
103.
104.
106.
108.
110.
111.
112.
113.
114.
115.
Card game
"Better. . ."
Recline
"- - - Them Live"
Song-and-dance film
Glamorous star of "Angel"
Famous Roman date
Femme star of "Romeo and Juliet";
initials
Chemical symbol
One by preeminence; slang
"Clive of - - - ia"
Biblical name
Mend
Spencer's wife in "Big City"
Deanna's father in "100 Men and
a Girl"
Wherefrom you see the screen
Party in power
Loretta's co-star in "Love Under
Fire"
Bing Crosby's wife, Dixie
American gangster in "Gangway"
"- - - Asked For It"
"- and Evil"
In
Bare
Unsealed
Seethe again
Build
Male star of
of 1938"
French girl in
Long seat: var.
The girl in "High, Wide and Hand-
some"
Pork
Former Russian rulers
Parts of the head
"Broadway Melody
■'The Big Parade"
puzzle
DOWN
1. German actor named Veidt
2. Eager
3. He's a cowboy star named Tex
- - - ter
4. Long
5. Measure
6. Rustically
7. "Men - - - Not Gods"
8. Princess Paley's first name
9. Rip
10. Disorderly
11. Worthless leaving
12. Open space
13. Latest film of star pictured
14. His leading lady in "When
You're in Love"
17. Enrolls
18. Puffed
21. Nit: Scot.
24. Cut
26. Hawaiian actress named 0
Clark
29. Over: poet
31. " Love You Always"
33. European newt
36. " With the Wind"
38. "- - Could Happen to You"
39. Mexican actress named - - mida
41. "Paradise "
43. Birthplace of star pictured
45. Plenty of these in Westerns
46. Delicious game dish
47. Haughty
48. Shad
50. What films are wound on
51. Composes
53. He married Jobyna Ralston
54. Hero of "Old Louisiana"
55. Compound ether
57. Warner Baxter's latest is
"Wife, tor and Nurse"
59. "- - - Husband's Secretary"
65. Egyptian goddess
67. Male star of "Espionage"
73. First name of dead pan come-
dian
74. Initials of gravel-voiced come-
dian
75. The ex-Mrs. John Barrymore
76. Alcoholic beverage
77. Hero of "Captains Couraeeous"
78. Exclamation
80. Superlative suffix
81. Prevaricator
82. Annabella starred in
the Red Robe"
83. American girl in "Lost Horizm"
84. Mrs. Roger Pryor's first name
85. "Dead - • -"
87. Poplars
88. " Goes My Girl"
89. Dispatched
92. Lubricated
95. Eagle's nest
98. The other woman in "Some-
thing to Sing About"
100. Screen try-out
102. Shoshonean Indians
103. German river
105. Comparative suffix
107. Greek letter
109. Anglo-Saxon coin
MODERN SCREEN
"ARAMOUNT GIVES YOU
"EBB TIDE"... THE FIRST SEA
PICTURE IN
The story of a man
who thought
he was God ! . . .
Adolph Zukor presents
Oscar Homolka
(By arrangement with Gaumont British
Picture Corporation Limited)
Frances Farmer
Ray Milland
EBB TIDE
A Lucien Hubbard Production with
Lloyd Nolan • Barry Fitzgerald
Based on the story by
Robert Louis Stevenson and Lloyd Osborne
Directed by JAMES HOGAN
Photographed in Technicolor
A Paramount Picture
HUISH, the little Cockney, had sobered up long enough to
take a fling at stopping this madman with the rifle. Now
he lay, dying a rat's death in a pool of vitriol. Thorbecke,
outcast of the Seven Seas, had done the same. Now his
hands pointed in mute surrender at the cobalt heaven of this
island of pearls. Only Herrick was left to defend the girl
against this man who thought he was God. Herrick! Uni-
versity man turned beach-comber. The madman's gun lifted
again, cocked. The girl saw his eyes, the eyes of a devil. The
gun leveled . . . the shot rang out to shatter the somnolent
quiet of the island . . . forever.
Had the madman won ? Had Huish's pitiful little life been
tossed on the lap of the gods in vain? Had Thorbecke
brought them through the fury of the hurricane for this?
Was Herrick to lose his one last chance to
prove himself a man? Was this beautiful white
girl to descend into the pit of a madman's
private hell forever?
The South Seas , . . Robert Louis Stevenson's South Seas, with
all their haunting beauty . . . with all their primitive, soul-searing
adventure . . . with all the vicious fury of their mighty ship-de-
stroying typhoons . . . now at last brought to the screen as
Stevenson himself saw them in this greatest of all adventure-pic-
tures, produced in natural color . . . Another thundering triumph
for the company which gave you the first natural color adventure-
picture, "The Trail of the Lonesome Pine" . . . PARAMOUNT!
7
Let June Lang
lielp choose your
frocks for dining
and dancing
For that dinner date, a
sheer black wool with
dainty vestee of mous-
seline de soie, is lune
Lang's choice. When
she's in a mood to
dance the hours away,
however, she wears
this youthful waltz
frock of iridescent
moire taffeta.
BY ANM
WILLS
GOING TO
RTY?
so YOU'RE going to a party? Oh,
excuse us ! Not a party, but several ?
And you want to know what to wear
for each ? Then take a few tips from
June Lang, one of Hollywood's most
popular gay young things "who, even
though she's a glamor girl, loves
parties and party frocks just as you
and I.
Now that winter is close upon us,
we must turn our backs on the easy
informality of summer and early fall,
and really get down to cases on what
we're going to be wearing on formal
occasions this season. Now, when I
say "formal," I don't necessarily
mean evening gowns alone, though I
know that's what you want to hear
about. We'll get to that fascinating
subject before we're through, don't
worry.
But first, just cast an eye on June's
black wool crepe, which she has
donned for her tea date and which
she is going to wear to dinner later
on. The perennially smart black and
white ensemble achieves new distinc-
tion in this two-piece frock with the
tufting of the hip pockets echoing the
softness of the ruffled mousseline de
soie vestee. A huge clip of rhine-
stones at the throat adds a touch of
glitter to the black and white sim-
phcity of this costume. A perky,
bowed cone-turban, black patent tie-
pumps and black accessories comple-
ment the ensemble.
June, as you know, has been called
the "Modern Venus" of Hollywood,
and her figure has been described by
artists as the most perfect in the film
colony. And if she doesn't achieve
the much-desired form divine in this
frock, then we've never seen one !
Her sleeves are but slightly pufTed
at the shoulder and the pencil-slim
line of her skirt descends in a straight,
slender silhouette all the way down
from the slight fullness at the waist.
She plans to vary this versatile frock
by the simple expedient of changing
the color and style of the vestee. It
will be feminine and dressy with
ruffled inserts of delicate shell pink or
pale yellow, trim and tailored with
severe, high-necked white pique, dash-
ing and sporty with dickies of bright-
ly colored suede.
With the latter, she will wear a
saucy little calot of matching suede or
felt. This youthful hat style, so be-
coming to almost any coiffure, is very
popular among the starlets. Betty
Grable and Eleanore Whitney are
planning at least one felt or suede
skull cap with each and every outfit,
and it amuses them to see how many
different clips, flowers or feather or-
naments they can assemble for each
cap ! And Constance Bennett, that
arbiter of fashion, is acquiring an ex-
tensive collection of these pert little
headpieces, which make themselves
at home on any occasion.
A smart, simple dark dress like this
one of June's is invaluable to the girl
who has an active social life but a
limited clothes allowance. For it is
adaptable for all daytime and infor-
mal evening wear from luncheon in
town to that {Continued on page 81)
MODERN SCREEN
THF IVrO.ST EXriTINO firPEElV KVENT OF ALL TIME!
The favorite play of America is
THE SCREEN HIT OF
THE YEAR!
A year of preparation — 3 months be-
fore the cameras — production costs
breaking al! studio records — and now
the-love-and-laughter show that en-
thralled New York and London stage
audiences for two seasons is ready to
flash its glories on the nation's screens.
'Tonight s our ni^ht
— then- may never
hi- a lomorrow
supported by a hu§e cast of famous stars including
BASIL RATHBONE
^ ANITA LOUISE ^
MELVILLE COOPER • ISABEL JEANS
MORRIS CARNOVSKY • VICTOR KILIAN . Directed by
Anatole Litvak • Screen play by Casey Robinson * Adapted
from the play by Jacques Deval • English Version by Robert E.
Sherwood • Music by Max Stetner • A Warner Bros. Picture
BY LEO TOWNSEND
stage Door
Edna Ferber stage ^nsmal. '
veSon ustr almost
s film ^ u jc^ a fast-movmg,
The result IS a tas ^^^^
First Lady^
is the story
and Katharme Da^^W ^.^^ ^^^o^ter Walter Connolly, Ver
a cast that does ] Preston tester , ^-ar^orie i^aic
l^=^°tts to work with a vengeance jeopardizes her
Logan.-
— ^^"-^^ ^Pf fi^^Fortunately
> '"^^ .' , whimsical tarce. , ^tments.
As « iffttei o< '»Seh .lio»'<l »'» ,30 0110,000.
,ogram F«>n^ t.^ek driver m t ^ $25, u
,'absent-mimnded
More Reviews on Page 108
grandma,
Hugh Herbert
BlondeU's
IVai-ner
MODERN SCREEN
BOY MAKES GIRL MAKE FOOL OF
NEW YORK
CAROLE FREDRIC
LOMBARD - MARCH
In SELZNICK INTERNATIONAL'S Sensational TECHNICOLOR Comedy
NOTHING SACRED
WITH
CHARLES WINNINGER • WALTER CONNOLLY
by the producer and director of "A Star is Born"
DAVID O. SELZNICK and WILLIAM A. WELL MAN
Screen play by BEN BECDT • Released thru VNITEO AltTISTS
11
Brinpi Bp Berk was tore
than a man-sizeil jol, so
:'iis:;ioier took it over
BY MUCK HDGHES
Here is Milton with Harriet Hilliard,
the de-lovely who supplied the ro-
mantic interest in "New Faces." Her
top notes were good and blue, too,
if you remember.
Milton Berle made a test for one
movie company and was signed
on it by another. His first picture,
"New Faces," set him cinematically.
MANAGING MILTON, as you may imagine, has been
no fool's job ! In fact, it's been one person's life work.
And it is one Sarah Berlenger (Berle these days) who
has taken on the task, and very successfully, we might add.
It all began, Mr. B confesses, with his mother's illness.
"You see, I was born in the hospital. Mom was there at
the time, and I wanted to be near her." But seriously, it
is impossible to keep Milton's mother out of his story for,
she is his story.
Preceding the advent of young Milton, his mother
worked in various New York department stores as a
detective, thereby acquiring "eyes in the back of her head."
All the better to later watch her youngster get the right
breaks in his chosen profession — the theatre.
"My mother and I are inseparable," Milton explained.
"You see, Mom has looked after and plugged for me all
my life and deserves the credit for my success. Her real
name is Sarah, I call her Queenie, but — and how do ya
like it — she wants to be known as Sandra ! Honest ! As
far back as when I was a punk kid too young to go to
school, I wanted to act. I used to stand in front of the
mirror making faces and when Uncle Moe would try to
stop me, Mom would say, 'Let him alone. He wants to
learn making funny faces.' "
It seems that Mrs. B. had her own thwarted ambitions,
insofar as the footlights went, and resolved that little
Milton wouldn't suffer the same fate. And so, she aided
and abetted him. She was pleased one afternoon to learn
that her son had, in his own ingenious way, embarked on
a career.
Milton, it seems, had borrowed pants, coat and derby
from his father's wardrobe. A fur muff of Mom's sup-
plied the makings of a mustache and a little paste secured
it in place. Unknown to Uncle Moe, his cane and shoes
were pressed into service by our hero and he shufBed ofif
to enlighten the neighbors as to how Charlie Chaplin did
his stufif. By chance a theatre manager was passing and
asked to see Milton's mother. (Continued on page 100)
MODERN SCREEN
Not since the days of Chaplin
./and Harold Lloyd has so much
money,talent and creative effort
been devoted to pure comedy
— zestfully spiced with music,
youthful
BILLY
HOUSE
mSCHR. AUER
JtMIVIY SAVO
BERT LAKR
allure and romance
THE 4 HORSEMEN
OF HILARITY
THE NEW UNIVERSAL presents
ERRY-GO
A TEN-STAR FUN FROLIC
with BERT LAHR • JIMMY SAVO • BILLY HOUSE
ALICE BRADY • MISCHA AUER • JOY HODGES
LOUISE FAZENDA • JOHN KING • BARBARA
READ • DAVE APOLLON and His Orchestra
Screenplay by Monte Brlce and A. Dorian Otvot
Directed by Irving Cummmgs
Original story by Monte Brice and Henry Myers
Produced by B. G. DeSYLVA
CHARLES R.ROGERS
Executive Vice-President in Charge of Production
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15
OS
3 -o -
MODERN SCREEN
More goes on
than tennis
playing at the
Beverly Hills
Tennis Club, it
would seem.
Here we have
Virginia Bruce
and Johnny
Green trying out
"TheBigApple."
around, proceeded to help himseli. We still
don't know whether or not Tony got his
shirts.
Out on the "Bad Man of Brimstone"
set, Joseph Calleia told us about the best
advice he's ever had. It was from his
brother, at the time Joe began his career.
Said Brother : "If you get bad criticisms
of your work, don't pay any attention to
them. And if you get good criticisms,
for Gosh sakes, don't pay any attention
to them either."
Speaking of reading notices, Frances
Farmer must have started a scrapbook when
Carole Lombard and
Tommy Kelly, the little
boy from the Bronx
who is making good in
big way, sit them-
selves down on the
steps of Carole's dress-
ing bungalow for a
heart-to-heart chat.
Our Number One spy spent all last week
disguised as the Trocadero and reports
the following information on the Errol
Flynn-Lili Damita marital status : Mon-
day— Damita drops vase in midair and an-
nounces reconciliation ; Tuesday — Flynn
announces plans to swim to Cape Horn,
carrying needed supplies, but not Damita,
in his teeth ; Wednesday — Flynn and Da-
mita announce plans for new home in
Bel-Air; Thursday — Bel-Air denies all;
Friday — Flynn and Damita seen holding
hands in Hollywood nitery ; Saturday—
Flynn and Damita seen clutching throats
in Hollywood nitery; Sunday — Flynn and
Damita leave for three weeks at Logger-
heads, their mountain hideaway.
Hollywood Tragedy: Less than two years
ago, Martha Raye was just a nice kid who
could sing and clown around, and loved to
do both. She had night club jobs which
didn't pay her much, but she was having a
swell time. Today she is one of the biggest
box-office sensations in the country, and her
weekly income runs close to two thousand
dollars per week. But she's not having
much fun any more. Like many who get
lamous in a hurry, she's having her troubles;
family, relatives, lawsuits and everything.
So the girl who used to sing for her supper
now gels two thousand a week and cries
herself to sleep every night.
16
Have you heard about Shirley Temple's
Good Will Club ? Everyone who belongs
gets a badge resembling a policeman's
shield. A Hollywood writer who has one
was recently arrested in Mexico for speed-
ing and tossed into the local bastille. He
suddenly thought of the Good Will badge
and whipped it out on the jailer, who was
terribly impressed. He gave our friend
a nicer cell.
Tony Martin dropped into a Beverly Hills
shop the other day to buy some shirts. The
place looked deserted, but he finally spied
a man bending over a shelf behind one of
the counters. "Hey," said Tony. "How
about some service?" "Right away, sir,"
replied the gent, coming to attention. It was
Don Ameche, who had gone into the shop
a few minutes before, and finding no one
Paulette God-
dard. Modern
Screen pre-
dicts, will get
the much-cov-
eted role of
Scarlett
O ' Hara in
"Gone with
the Wind."
Now, don't
contradict, we
know!
MODERN SCREEN
the critics lauded her in "Come and Gel It,"
her first big picture. Frances believed all
the nice things they said about her, almost
immediately assumed the role of a haughty
star and entirely forgot the fact that she
owed everything to a lucky break. So when
critics panned her work in "Toast of New
York," she couldn't understand their attitude.
Finally it dawned on her that possibly she
hadn't yet reached the stature of a Duse or
a Bernhardt, so she set about to make re-
pairs. She spent two months doing stock in
the East, and now she's back in town a
chastened gal. Or at least until her next
big hit.
Embarrassing Moments Dept. : At the re-
cent tennis matches, Clark Gable and
Carole Lombard occupied one of the cen-
ter boxes. Guess who had the box right
next to theirs. It was Rhea Gable, and
it can be reported that occupants of both
boxes appeared intently interested in
watching the tennis court.
Since the Orsatli-Lang break-up. the groom
has been dividing his time between Virginia
Field and Eleanore Whitney. The bride has
been more consistent. She has devoted her
time almost exclusively to Morrie Morrison,
wealthy young local sportsman. On a good
evening you can see Vic and Virginia at a
table for two and June and Morrie holding
hands at the same night spot. Incidentally.
Morrie's hand is worth holding, for at the
drop of a hat he can put it on two or three
million bucks of his own money.
Here's a Hollywood arithmetic problem
that's hard to figure out. Marlene Diet-
rich draws down something like two hun-
dred and fifty thousand dollars for mak-
ing a picture, and her pictures seldom show
a profit. Universal's "100 Men and a Girl"
will make well over a million dollars, and
its star, Deanna Durbin, receives two hun-
dred and fifty dollars per week. How
about dividing up some of the loot, Mar-
lene?
(Continued on page 69)
SOOTBINfi CHAPPED HMDS-
m PROBLEM I
THIS
EXPOSURE
MAKES US FEaRAW
AND ROUGH
goodie!
/here COMES
\ MINDS TO
( SOFTEN OUR
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^ SKIN
If your hands could talk, they'd tell how blus- HowHindsHoneyand AlmondCreamsoothes
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J jANGNAiLS. Rough, red skin. Chapped knuckles. Time
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its extra-creamy ingredients and its "sunshine" Vitamin
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back to comfort. Dishwashing loses its reddening effect.
Biting winds no longer leave that sore, chapped look.
Turn to Hinds Honey and Almond Cream— for Honey-
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size
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Hinds is used daily ,
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The tender baby skin of the
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Grand for your children too —
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i;opyrightl937NEASurvlCL'. In
HONEY AND ALMOND CREAM
17
THAT GIRL'S HERE AGAIN!
IT'S THIS way," said the
producer. "You've got the
looks, Joan, but you can't
dance !"
"Humph!" said Joan
Fontaine and rumpled her
bright hair and squinted
those perfectly good hazel
eyes of hers. "I thought
Fred Astaire was to dance
alone in 'Damsel In Dis-
tress.' "
"You've been reading the
papers again," said the
producer. "Fred is going
to do a number or two with
the girl selected to be his
leading lady. So-ooo . . ."
"So I'll be back!" said
Joan. That should have
warned him, but producers
are seldom warned. He
went right on searching for
a new partner for Astaire.
Then one fine morning
the producer's secretary an-
nounced in no uncertain
terms, "She's back." And
there was Joan in a practice
outfit going into her dance
on his bearskin rug. Doing
a symphonic tap that was
tops almost on the animal's
head. It was too much for
the gentleman. He ordered a test made,
few explanations.
Joan chortled. "That's easy. I've been taking lessons
during my noon hour and at night. Then I went to the
dance director here at the studio and I've been working
out with him." P.S. She got the part.
Until she was two years old, Joan was so ill they had
to keep her wrapped in cotton wadding. Then, at three,
Stanford University professors gave her the Terman
Intelligence Test and rated her ten points higher than a
genius. That's Joan Fontaine for you.
She is nineteen now — and beautiful. However, it's the
flame of her you see first. There is something so young
and eager and fearless about her, it's almost tangible.
Once, on the way to Tokio, the ship she was on struck a
typhoon. Instead of huddling in the main cabin with the
other passengers, Joan strapped herself to a post on deck
with her belt and watched in a fervor of excitement.
She was born in Japan — October 22, 1917, in the In-
ternational Settlement in Tokio, the second daughter of an
attractive young British couple. The elder daughter,
aged three and afTectionately known as "Ollie," asked
Nikko for a baby sister. And Nikko, of course, could
draw them from the sky. He was the estimable Oriental
who divined your fortune in the sand for one yen and
whose wisdom often startled even the older members of
She gets what she goes after, does our Joan,
because she won't take "No" for an answer.
BY VIRGINIA T. L II N E
He ordered a
the interested community.
The first time he caught
sight of Joan, he made an
obeisance that swept the
ground. His Nipponese
calm crumpled surprisingly.
"She will be great, this one.
Among the famed of the
earth," he said excitedly.
But the mother only
laughed gently. "You said
that about our first baby !"
"That is well," Nikko
nodded, unperturbed. "You
are blessed."
She felt pretty much that
way about it herself, even
though the baby was so frail
and strangely quiet. Finally
the doctors gave their de-
cision. If Joan were to live
at all, she would have to
live on the mainland. In
America. Without further
to-do the family left for
San Francisco and settled
in a small town near it,
sprawling in a sunny valley,
a town ready-made for
healthy, robust kids. Ollie
was one of them from the
first. But not her sister.
It was enough to give
anyone a man-sized in-
feriority complex. But it made Joan want to fight. She
had to show them, she had to travel under her own
steam without help from anyone. It became the ruling
obsession of her life and it explains much that happened
later.
"Joanie, stop ! You'll kill yourself !" Terrified screams
from the neighbors. But she paid no attention. She had
never ridden a bicycle before. Now she was on Ollie's,
coasting down the steepest hill in town. Loving it. By a
miracle, coming to a safe stop five blocks away.
"Joanie, if anything had happened to you I would have
died, too." Ollie's dark little head was against the golden
one. They clung to each other. Sensitive, sweet kids.
Worlds apart in temperament, closer than two little peas
in a pod in devotion.
THE NIGHT they learned their parents were getting a
divorce, they cried in one another's arms for hours.
Then Joan suddenly turned and thumped her pillow. "Up,"
she said on a last half sob. It was a by- word between
them. You had to keep your chin up no matter what
happened.
After it was all over, Meg, as they adoringly called
their mother, and the two girls drew more together than
ever. Meg always was interested in the theatre and she
had drilled them in Shakespeare {Continued on page 97)
Meet Joan Fontaine -Olivia DeHavilland's determined kid sister
18
A MARVELOUS NEW FORM OF CAKE MASCARA
Peep into the end
"yl hole in the center of ike calce"
of the sparkling metal case.
See the round mascara cake hidden inside? And see the round hole
that runs lengthwise through the cake? Well . . . you whisk the brush
'round inside this hole, and then proceed on your lashes in the regular
way. Then is when you get your second surprise! Instantly, you make
the thrilling discovery that this new style round brush goes between
your lashes and colors them evenly all over instead of just on their
bottom side. What a difference this makes! Lashes look more luxuriant
...eyes look lovelier than ever before. And what a mascara this is!
Newly smooth in texture. Oh! so smooth, and so quick to dry. Dries
almost at once. Truly tear-proof, and actually curls the lashes. Non-
smarting, and perfectly harmless of course. Then think! When you
are all through making up your eyes, your Modern Eyes case is just as
clean and neat as the day you purchased it. Black . . Brown . . Blue.
Tffoi^e^uu^ wdiv "MODERN EYES".. .250 AT ALL LEADING TEN CENT STORES
Mrs. Whitney's guests climb aboard . . . light up Camels. . . . With a "Hard alee!" Mrs. Whitney puts the helm over . . . heads out to sea.
The Whi tneys will be sailing
in southern waters soon
SOCIETY EDITOR
MRS. HOWARD F. WHITNEY
told me, the other day, that
they hope to do some sailing in the
South this winter. The Whitneys had
a lovely summer on Long Island —
and on the Sound. Mrs. Whitney is
a skillful yachtswoman and handles
a racing class boat like an expert
Their converted New York 40, the
Chinook, is a very "shippy" boat.
Mrs. Whitney will be remembered
as the former Hope Richardson. Her
wedding was an outstanding social
event. I recall how enchanting Mrs.
Whitney looked as a bride, in a gown
of white satin with a yoke of net
embroidered in tiny pearls, and her
tulle veil held in place by a bandeau
of orange blossoms. This year Mrs.
Whitney's committee work had much
to do with the success of the colorful
Greentree Fair at Manhasset. During
the summer she got in a lot of ten-
nis, riding, and — as always — sailing
and cruising.
Hope's enthusiasm for the ener-
getic life is proverbial among her
friends. "Don't you ever get tired?"
I asked. "Of course," she laughed.
"After a long trick at the helm, or
any time I feel worn out, I refresh
myself with a Camel — and get a 'lift'!
I can smoke Camels steadily, without
the slightest feeling of harshness on
my throat." Which shows how mild
Camels are! It's true that women
find the costlier tobaccos in Camel's
matchless blend more enjoyable.
(above) Mrs. Howard F. Whitney, of Roslyn,
Long Island, at the helm of the Chinook. "lvalue
healthy nerves," she says. "So I smoke Camels.
They don't jangle my nerves!"
Camels are a matchless
blend of finer, MORE
EXPENSIVE TOBACCOS
...Turkish and Domestic
TVRHISII& DOMESTIC
BI^BNO
^ CUiARETTK.S
A^.h 2"d, Bo ,
Co., m- ,
^''Cholas G p
^ "'•"■iurton, J,
WITH A CAMEL
Fun-making Eddie Cantor and hit-maicing 20th Century- Fox
now go to town togetherj -/fm/ cfsa C^i^titotH^u^ ^a^i^y/
CANTOR
WITH ALL THESE MERRY-MAKING ENTERTAINERS
TONY MARTIN • ROLAND YOUNG
JUNE LANG • LOUISE HOVICK
JOHN CARRADiNE DOUGLAS DUMBRIUE
VIRGINIA FIELD RAYMOND SCOTT QUINTET
ALAN DINEHART PETERS SISTERS • JENI LE GON
Directed by David Butler • Associate Producer Laurence Schwab
Screen Ploy by Horry Tugend and Jack Yellen • Based on'
a story by Gene Towne, Grohom Baker and Gene Fowler
1001 SIGHTS!
1002 LAUGHS!
. . a% Eddie turns Bagdad in-
to gag-dad and streamlines
the Sultan's swingdom!
Hundreds of dancing horam
dorilngt! (Wfioopsiecfoops/)
About a million wild-riding
Arab horsemen (d// aft«r
Eddie!)
The Raymond ScoH Quintet
{putting the heat in swing .')
Countless kisses under the
desert moon (at Tony sings
to June!)
1938- model Magic Corpets
{with Hoating power!)
A hundred or so other hi-
de-highlights!
Gorgeous, spectaculor, tune-
ful, surpriseful Cantortoin-
ment!
Yes! You've got something
here!
Si W
Sin
^^,T CANTOR
lorooh
Oarryl F. Zonuck
in Charge o* Prodwcdor
23
PR9DRIC
Freddie looks pretty
serious here, but he
shouldn't. Not after
romping through
"Nothing Sacred,"
with Carole Lombard
for a playmate. Mr.
M. is one of the most
popular men in — and
out of — pictures.
KHTHRRine
HePBURR
Oh, my! And doesn't
our Kate look too
hoity-toity! But never
mind, she's still the
same madcap she al-
ways was, and this
is all in the spirit of
good clean "drah-
ma." Don't tell us
she isn't having fun!
SHE LOOKS like a dream on the loose. Her private
life sounds as though she is the last of the Cinderellas.
But when she talks to you, the vibrant flesh-and-blood
woman who is the acclaimed Madeleine Carroll pops out
from behind the glamor legend. You learn, then, of her
errors, and it's a woman's mistakes and how she manages
to overcome them that tell her true story after all.
I found that the reason we've never heard of the mis-
takes of Madeleine is simply because no one ever asked
her about the dilemmas she's had to face down. She's
never made the mistake of whining, so no one realized
that she, too, has had troubled hours. Both professionally
and romantically she's scored such bulls-eyes. She was
Britain's reigning screen star when she came to Holly-
wood. Triumphantly she's combined her career with an
exciting brand of matrimony. She even has extraordinary
beauty and youth to boot. But all because of her mistakes
and how she conquered them !
It was at the Brown Derby that I ran into her. She
was lingering over a demi-tasse in one of the little booths
against the wall. She'd chosen an afternoon dress of
clinging black, green beads for a clash of color, and an
absurdly feminine, wide-brimmed hat.
"Do join us and sit down on this side!" she called
gayly. "With this hat on I can't see a thing on my right."
Beside her was Captain PhiHp Astley, her wealthy, fas-
cinating husband. Then there were two studio girls who
were spiritedly explaining why she should come to their
respective studios on the morrow for portraits. Captain
Astley was speaking on the telephone that had been
whisked up. He handed it to Madeleine and she gesticu-
lated frantically, "Who is it?" Before he could reply she
BY BENJAMIN M i B B 0 X
was saying "Hello" in a composed tone. Then she listened
simultaneously to his "It's the shop about that new lug-
gage" and went on talking to the distant voice. She's
quick like that.
She uses only lipstick for personal make-up. Her
gray eyes don't have to be framed in mascara. It's her
contagious sense of humor that is the surprising thing
about her, though. She is quality with a kick, a cosmo-
politan citizen of the world who admits that she'd laugh
out loud if she ever caught herself behaving pompously.
Shortly the captain had to dash to a business appoint-
ment. "I'll see you later, darling," he told his wife.
"You'd better have tea and a snack," she thereupon
vowed. "I can't eat a thing, for I've just been to an
elegant luncheon and last night Myrna Loy entertained
for us. There is a connoisseur of fine food !" She sighed
appreciatively. She isn't one of those actresses who exist
on a perpetual diet, yet she illustrated that she's wise
enough not to go on an eating jag.
"You have so much," I said then. "You were an over-
night hit and then you fell in love with a story-book fellow.
He presented you with a swanky flat in Mayfair, a country
castle outside of London, and that villa on an estate in
Italy where you were married with all the peasants crowd-
ing around your private chapel. You're too perfect.
Didn't you ever make any mistakes?"
She smiled. "Oh, yes indeed !"
"What were they?"
She picked up her gloves and began counting the fingers.
"The major oiies might be under ten. But at the time,
when I was completely confused by what had hapoened,
believe me they loomed Uke (Conttnued on pacre 75)
27
LAUGHING THE 1VH0LE
BY IDA Z E I T L I N
DICK POWELL and Joan Blondell settled themselves
on the divan.
"What side of our life would you like to know?" asked
Joan politely. "The rectangular lefthand corner?"
Dick interrupted. "You gave that away last week. To
the little guy with the purple whiskers, who walked back-
wards. Remember?"
"So I did. Well, what have we got left?"
"How about that wedge at the side, painted green, with
ramblers and ants creeping over it?"
"I thought we were keeping that for our old age." She
gave him a bright smile, and her voice was edged with
sweetness. "Look in your little book, darling. Maybe
you've got it all written down there. You see," she went
on to explain, "he's supposed to have the memory in this
family. I used to follow him around wide-eyed, watching
him remember things. Then I noticed a little book that
kept slipping in and out of his pocket. So one day I stole
it, just in a spirit of scientific investigation, you under-
stand, and discovered the worst. My husband's memory
was all in his book."
"Jot-it-down-or-it's-gone-with-the-wind Powell. That's
what they used to call me in school," Dick informed me
pleasantly.
Whether this was spontaneous combustion or just the
effect of each on the other, I couldn't tell. Asking them
throws no light on the subject.
"Dick's the cheerer-upper," says Joan. "I plunge into
the depths of despair, prepared to spend the rest of my
life there. He hooks me out."
"I'm the Grade A worrier," says Dick. "Or was, until
this woman came into my life. They wouldn't give me
better than a C now."
So toss up a coin, and take your choice. Not that it
matters. The effect's too pleasant to bother about the
cause.
JOAN AND Dick have plenty to laugh about. They're
young. They're prosperous. They're in love. They have
a baby in the house who would dissipate gloom from the
face of Hamlet himself. On the other hand, they've also
had their share of thorns in the flesh, more than their
share, you're sometimes tempted to think, when you re-
member that the ways of publicity denied them even a
honeymoon in peace.
It was when the New York newspapers decided to make
a Roman holiday of their wedding trip that Joan and Dick
sought deliberate refuge in laughter. Before that, they'd
laughed for the fun of it. Through that period of nerve-
strain, they learned to laugh so that Joan wouldn't weep,
and Dick wouldn't clench his fists to keep from socking
people.
Why did they go to New York at all, you may ask,
if they wanted peace? They should have known better.
Not at all. On previous visits, each had been allowed to
go his way unmolested. Why should it occur to them
that, because they were going together as man and wife
life would be made a burden to them. Thev took the
contrary for granted. That because it was a
honeymoon, their privacy would be respected
like that of any other newlywedded pair. They ,
laugh at their naivete now. Which is one up
for them. The whole thing might have made
them bitter.
"I wanted to go to New York," says Joan,
"because it was my home town. I'd spent
so many years there, with hardly one dime
to rub against another. I'd been back just
once since I'd made any money, for a
week of personal appearances, and five
shows a day didn't leave me much time
for gadding. I thought it would be fun
to drag Dick 'round to the places I'd
known as a kid, and see plays from the
orchestra instead of the gallery, and
go really shopping instead of just
window-shopping. Besides, my sister
Gloria was rehearsing for a play. We
wanted to attend the opening." She
laughed briefly. "I still think all
those things would have been fun.
But I'll never know. Because they
were just the things we didn't do."
Dick didn't care where he went,
so long as Joan went with him. They
knew they'd have to meet the ships'
news reporters. They were prepared
to attend a party for the press. The
rest of the time would be their own.
On the morning of their arrival,
the reporters clambered aboard at
six-thirty. The Powells were ready
for them. They'd had a happy trip.
They'd be good sports about this. It
would soon be over. "It's no more fun
for them than for us," they told each
other, and went out on deck.
MAYBE BECAUSE it wasn't fun for
the reporters, they decided to inject their
own brand of fun into it. Maybe news
was slack, and they had to build up the
story. At best, newlyweds are in a spot,
even when they quietly board a train, even
when they enter a hotel unattended, praying
that no one will recognize them for what they
are. It took humor and dignity to face the
barrage that waited for Joan and Dick.
They fired questions, regardless. They clamored
for leg art and, when Joan refused, they pretended
not to hear her. The Powells remained patient
throughout. They knew their press, and how easily its
feelings are hurt. They clung to the thought that this
would soon be over.
Suddenly, such a fearful din arose as drowned out even
the noise on deck. Tugboats {Continued on page 101)
Nothing is as bad as it seems if you can take it witli a grin
28
Joan Blondell — who Is IMck PoweU— whoisiiot
Mrs. Dick PowelL T^- Jocm Blonde
Norman Barnes with The Dick Powdte, look-
Ids famous mother, in' elegant, dine out.
SINGING
Allan Jones practiced scales to the
BY FAITH SERVICE
THE CUSTOMARY crowd of fans stood outside the
Four Star Theatre here in Hollywood the night "Firefly"
was premiered and a new star was born. They stood on
soap boxes, on camp stools brought from home. They
shinnied up each others' backs, they crawled on each-
others' shoulders, the better to see the stars, my dear.
They elbowed, shoved, jostled, waved autograph albums,
made personal remarks such as one does about the sup-
posedly non-comprehending animals in the Zoo. Voices
hissed, whispered, rose to shrill splinters of screams.
"Boyohboyohboy, there's Joan Crawford, ain't she
sumpin'. There's Loretta Young with Tyrone Power,
thought he was goin' with Janet Gaynor now. Look,
there's Warren William, he's in the pitcher, too. Say,
Where's Jeanette? Aw, she's on her honeymoon, don't
you know anything? Say, is that Garbo or is it Shirley
Temple?" So it went. And no one paid much heed to a
quiet young man who went in with Irene Hervey on his
arm. There were murmurs of, "Say, there's Irene Her-
vey. ■ Who's she with ? Oh, yeah, he was in 'A Day At
The Races,' huh?" That was all.
Then the preview was over. The fans, more patient
and persistent than the seven-day mara-
thon dancers, still seethed and shoved. By
the mysterious agency which seems to
vibrate in the air waves and announce,
without words, the rising of a new star,
the word had passed. It was on the lips
of the preview audience as they came
out. It was on the elated faces of Pro-
ducer Hunt Stromberg, Director Robert
Leonard. It was in the congratulatory
handshakes of his fellow players. For
the quiet, almost unnoticed young man
STOIC
beat of a coal miner's pick!
named Allan Jones would be quiet nevermore, would
never again go unnoticed. Allan Jones came out of that
theatre, figuratively if not literally, carried on the shoulders
of his peers, besieged by the very fans who had passed
him by as he went in, hosannaed by the audience who had
applauded his songs to the last echo, cheered him in his
final fade-out.
"Jeeze," bleated one of the crowd, one of the chroni-
cally envious for whom fame is always something to be
envied, never to be earned, "jeeze, how's that for easy
does it? One pitcher and the guy's in the Big Time.
Jeeze!"
"Easy does it?" Ah, no, my friend.
Daniel Jones, father of Allan (an only child), was a
slate picker in the coal mines of Pennsylvania when he was
eight years old. His people had pulled the hardy fibres
of their family tree out of the soil of Wales and trans-
planted the lusty shrub to the Land of Promise, America,
Scranton, Pa. In Scranton, on October fourteenth, Allan
was born.
Allan was four when Daniel realized that, a miner with
neither stocks, bonds, annuities nor social position to be-
queath his son, he had yet provided him with an "inherited
income." For Daniel's fine tenor voice was born again in
his son. "The Welsh," Allan told me, "are like the
Italians in one thing, they sing as
naturally as they breathe. They
sing at their work and at their
play. My father sang with coal
dust in his lungs, down in the
bowels of the earth. I sang, too.
I sang before I could talk. I sang
at my play. I sang while I ate.
It took "The Firefly" to make movie
moguls and fans realize what a
gem they had in Allan Jones.
Above, Allan with his wife, Irene
Hervey, and her little girl, Gail.
And when I was four I sang my first song in public. I
stood up in church and gave them 'AH Through the
Night.' "
When he was eight, young Allan had a regular church
position, as boy soloist of St. Luke's Episcopal Church in
Scranton. He took lessons from a local teacher twice a
week. He took a few piano lessons when the family ex-
chequer allowed. And wise in the way the sons of work-
ingmen are wise, he knew that a voice was not enough;
that he could sing in the mines as his father before him
for the rest of his life but that if he would sing in opera
as men like Caruso, Scotti, Rubini had done, training
would have to be superimposed on nature. And training
meant money. And money, in young Allan's language,
was something you earned. And so he did. The "easy
does it" of Allan Jones is the sweat of his body, the strain
of his heart and muscles, rigorous deprivations, strenuous
labors, almost all work and no play.
At the age of eleven he was working in Silverberg's
Clothing Store in Scranton, delivering suits. He worked,
after school, from three-thirty in the afternoons to "any
old time at night." He earned ten dollars a week and
trolley tickets. Even at that (Continued on page 89)
31
LETTER FROM
I'M WRITING this letter to everybody who reads it.
I'm not really writing it with a pencil. I'm saying it,
and the lady is putting it down. That's how my daddy
and Mr. Zanuck and other gentlemen do when they
have an office. I have no office, but I like it anyway.
When you write, it takes longer, and the spelling isn't
so good, but when you talk, the words just come out
and the lady spells them.
I'm eight years old and my name is Shirley Temple,
and I play in pictures for Mr. Zanuck at the studio.
It's a nice studio, because everybody laughs and makes
jokes with me. I like jokes.
I have a little house there and Mr. Revel has the
house next door. Mr. Revel writes songs with Mr.
Gordon and he plays with me. He puts a lampshade
on his head, and he holds an electric light in his hand,
and then I hide, and he makes believe he's a lamp and
he's looking for me. My goodness, how I laugh!
Because it's funny to see a lamp with a coat on, walking
up and down.
HE SINGS rounds with me, too. Do you know
rounds? You start, and then somebody else starts,
and you're all singing different things at the same time,
but you mustn't miss. There's one round, "Row, row,
row your boat, gently down the stream, merrily, mer-
rily, merrily, merrily, life is but a dream." Mr. Revel
never misses, but sometimes he says, "We'll have to
stop this boat, I'm getting seasick." Of course, there
isn't any boat at all, so he
couldn't get seasick. He just
likes to pretend, so then I
make believe I'm sorry for
him, not to hurt his feelings.
Mr. Revel knows how to
swing music. First I play
"Silent Night" on the piano,
then he swings it for me. I
take piano lessons from Miss Chaudet, but I don't think
I'll ever play as good — I mean, as well — as Mr. Revel.
When I know my lesson, I get a gold star, and when
I have ten gold stars, I get a little statue of Wagner
or Liszt. Pretty soon I'll have a whole list of them.
That's a joke.
Would you like me to tell you another joke? Then
you can tell it to somebody else. You say to them,
"Spell two kinds of two," and they spell it. Then you
say, "Spell the name of the man who wrote 'Tom
Sawyer,' " and they spell it. Then you say, "Now say
all those words," and they say, "Two two twain," as if
they were a baby and didn't know how to pronounce
choo choo train. Then you say, "When you grow up,
I'll teach you how to say locomotive." It's funny,
because they're mostly grown up already.
DO YOU know what a deadpan is ? It's trying not to
laugh when somebody tells you a joke. My daddy and
I practiced it one day, and the next day somebody told
me a joke. This is it. A girl who never saw a cow
before saw one, and she said, "What are those things
on his head?" And they said, "Horns." Well, pretty
soon the cow mooed, and the girl said, "Which horn
did it blow ?" I wanted to laugh, but I didn't. I made
my face straight, like Daddy showed me. The poor
man looked so sad. He said. "Well, I thought it was
funny, but I guess I'm wrong." Plis face kept looking
more and more disappointed, so finally I couldn't stand
it, and I told him about deadpans.
Besides jokes, I like the radio. I like "Lone Star
Ranger" and "Little Orphan Annie" and "Buck Benny
Rides Again." I just like them, I guess. I couldn't
tell you why. Oh, and I like Ben Sweetland verv
much. He's nice. I'm going to write a letter and rec-
ommend him, he does such a lot of good in this world. I
liked the Russian flyers, too. They're not radio, they're
just flyers from Russia over the North Pole. I talked
English and they talked Russian
and we didn't understand each
other, but we all laughed. One of
them had such white teeth when he
laughed.
Besides radio, I love animals. In
"Heidi" I had to milk a goat. Heidi
is a little girl who lives in Switzer-
land with her grandfather, and she
takes care of goats. I never milked
SHIRLEY
B Y
IDA Z E I T L I N
Life is just one big joke
after another to Shirley,
so she seldom, gets mad.
But when she does, she
does it in Chinese! You'll
be seeing her in "Heidi."
a goat before. It wasn't
quite easy, but finally I
got some, and I had to
laugh, because it came
squirting out all over my
hands, and the goat
looked surprised. I wiped
them off, and did it over
again, because I was
Heidi, you see, and Heidi
wouldn't get it all over
her hands.
There was something
else I never did before,
and that was yodeling. In
the story Heidi goes for
a drink of water, and she
sees a man with a feather
in his hat and he yodels,
so she yodels, too. I tried
to make it sound like the
man with the feather, be-
cause he yodeled some-
thing beautiful, but it
sounded pretty different,
I can tell you. Well, any-
way, Heidi wasn't experienced in yodeling, so I guess
maybe it doesn't matter so much.
Oh, and there was the sweetest baby goat, his eyes
were so blue. He was only four days old, just imagine
that. Four days before he wasn't even born yet, and
now he was working. He was Heidi's pet, and I had
to hold him in my arms so he'd get used to me and
wouldn't be frightened. I loved to hold him, he was
so sweet and soft. And you know what? He got to
like me. Really he did. Wasn't that wonderful?
But, shucks, I guess the director didn't think so, be-
cause after a while he was supposed to run away from
me, and he wouldn't run, he wanted to stay with me.
So they had to get another one. I'm glad I didn't see
him to say goodbye, because I might have cried.
I don't cry very much, just once in a while, like
when Ching was run over. Ching is my dog, but they
saved his life in the hospital, and he's fine now, thank
you. He comes to the studio with me every day. Any-
how, I hope that little baby goat has a nice home, with
plenty of grass.
Did you know some animals don't care so much for
grass? F'rinstance, my rabbit, Blackie, eats pine
needles. You'd think they'd (Continued on page 71)
Little Miss Teiple speaks her
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MONTGOMERY IN
MELLOW MOOD
SAID BOB, "If I should tell you what I'm really like,
you'd be bored to death. If you should write what I
tell you, your readers would be bored to death."
I said, "I'll gamble on myself and on my readers.
Tell me."
"I'm just a man who wants to improve himself on
his job," said Bob gravely. "I'm an actor who wants to
become a better actor. I'm a business man who hopes for
promotion. Meaning, in my case, better stories. I am
no different from the banker who studies economics in
order to 'raise' himself, no different from the doctor
who studies his glandular systems and bio-chemistry,
experiments and observes with the ambition of bettering
his technique, his knowledge of his subject. I'm an
actor who wants to develop into a better actor. And
works at it. All of the time."
Which statement didn't bore me. Nor surprise me,
either. I have always known that Bob is not, really, the
casual, wise-cracking smart young sophisticate he has
for so long and so consistently appeared to be on the
screen. For Bob is a crusader at heart. He is a breaker
of lances. He can turn a nifty phrase with the best of
the cocktail bar sophisticates. He can
also spit forth iron indignations. He
can flirt. He can also fight. He is J Y
raw to any injustice, any wrongs of
his people. He is, invariably if not
always popularly, on the side of the .
oppressed, the put-upon. Much as is
Jimmy Cagney, one of his good
friends. Together, they've waged many a battle.
Make no mistakes about Bob. If you have been mis-
taken about him, let me help you rectify your misappre-
hension. Bob has a slick patter, off the screen as well
as on, true. He even seems a "tech" mad now and
again. He is debonair and sleek and suave. He loves to
play, occasionally. On the surface. But his mind is like
one of those powerful, intricate motors concealed be-
neath the streamlined, shining hood of a very expensive
car. There is speed and a silken murmur. And you do
not realize, at first, the power, the steel strength of the
engine because of the "lines" and the paint job.
Bob wears a slick paint job. It's deceiving. The
superficials are all gay and glib and in the mode
modeme. But the powerful engine of the Montgomery
brain, the hot strong motives of the Montgomery heart
are all there. There is little of philosophy, psychology,
matters politic or sociological, that Bob has not read
and studied. He is Duco-ed with the drawing room
manner. He might, superficially, seem to fit in with
the Hemingways, the Noel Cowards, all the Bright
Young People. But he can, also, hold his own with
scientists, engineers, medical men, learned professors.
There is no family in the film colony more conserva-
tive, more decorously mannered, less exhibitionistic than
the young Montgomerys. Unless it be the young Fred
Astaires. There is a screen over the private life of the
Montgomerys behind which neither public nor press
ever peeks. Bob will not talk, for publication, about his
wife or the babies. Their friends are the Chester
Morrises, the Fred Astaires, the Fredric Marches, the
Leslie Howards, others.
When they are at home on their farm in New York
State, they live the quiet, unobtrusive lives of country
gentlefolk. They ride to hounds. They go to football
games. They wear old, tweedy clothes, sweaters a bit
shapeless, ancient and honorable raccoon coats, walking
boots. They sip a little sherry, dry, before dinner. The
children go to Sunday school and are brought in, for
dessert, after dinner.
Bob's interests, his real interests, are not vested in
cocktail shakers, dizzy parties on the blue rim of Holly-
wood swimming pools (as so many of his pictures would
indicate), nor yet in wise-cracks. I have talked with
Bob for an hour, two, three hours and not a wise-
crack flips off his lips.
Bob's real interests are in heavy matters. Such as
Guild shops for actors and writers,
the promotion of better working con-
ditions for every member of his pro-
fession, beginning with extras. He
advocates a home, a hospital, down
Santa Monica way where the sea
breezes blow, for indigent, ailing
actors. He says, "The survivors of
the well-known fittest should help the unfit to survive.
This is the only humane law for all human beings."
He is interested in providing for old-timers in pictures,
old-timers who want work and can't get it. He believes
in keeping green (and well-fed) the memories of those
who, in the past, have made us laugh and cry and forget.
He would like, by publicity and persuasion, to build the
loyalty of the American public for stars who have aged
or faded.
He is against censorship of all kinds. And does things
about it even though it might well be to his own interest
to stop doing things about such things.
He cares about working hours for actors, the limita-
tion of working hours. He would Hke to establish the
fact that actors are not cans of soup nor automotive parts
to be run through machines, neatly labelled and so ready
for the ultimate consumer.
He believes that actors should be temperamental if
their natures so dictate. "For the actor," said Bob,
"should have temperament. It is what gives him phfft!
It is the throb in the song. It is the color on the canvas.
It is the stir in the blood. I would encourage tempera-
ment if I had anything to say about it. I believe that
Oscar Wilde once said that women only take lovers for
the scenes they make. Well, if I were a producer I
CAROLINE
S. HOYT
Man-about-town? Thai's
what you think-but here's
a surprising new slant on
our fine friend Robert
would take actors for the off-scene
scenes they make !"
He cares terribly about his work,
does Bob Montgomery. He cares,
not only and exclusively, about his
own work, however, but he cares
about the screen as a potent and
powerful medium of ever bigger
and better things.
He said, "There is no art form in
the world today, neither stage, nor
radio, nor literature, nor sculpture,
which embraces the whole world and
ever3d:hing in it as pictures do, or
could do. For the screen can com-
mand the earth and all of the arts
and science, engineering, literature,
great personalities, the past, the
present, even the future are at the
beck and call of the Great God
Studio. I believe that we have been
playing down to tile public.
"When we previewed 'Night Must
Fair I asked that the first preview
be shown at a little hick town here
in California. A community of
farmers, ranchers and their wives.
The kind of people who cook a big
family dinner, clear away, wash up,
sigh and say, 'Let's go to the movies
tonight.' They were the people who
first saw 'Night Must Fall.' I was
there with Dick Thorpe, the director.
We were having the jitters. I said
to Dick, 'This will decide it. We will
know tonight whether we were right
or wrong, whether we have suc-
ceeded or failed.' And you could
have heard a pin drop there in that
crowded little theatre. And when
they came out they came up to me,
men and women I'd never seen be-
fore and may never see again, and
they shook hands with me and the
words' they didn't say made me
know that they had 'got' it, that we
had succeeded. It proved what I
have always contended, that people
do not go to the movies with their
minds. They go with their emotions.
And emotions are all and basically
the same, whether they live in the
heart of an illiterate farm-hand or
the heart of a polished cosmopolite
{Continued on page 76}
Whcrt to do next?
That's the problem
Bob's trying to
solve these days.
So how will you
have your Mont-
gomery, gay and
debonair or seri-
ous and dramatic?
He wants to know.
DIETRICH GOES
LIGHT-HEARTED?
Tch, tch, perish the thought, shudders sultry Marlene, who would
rather be mysterious than Duchess of Windsor! Well, why not?
38
BY JAMES R E I D
IT'S ALL very well to speak of Miss Dietrich's legs.
They are very beautiful. And they haven't been a
detriment to her. Maybe they've even helped her
a little bit, but . . .
"So far, too many of Miss Dietrich's roles have
been too much alike. Exotic manners, enchanting
smiles, dreamy eyes, and — the legs.
"She has something else, something we are going
to show in her next picture: a talent for comedy
which the putjic knows little about."
So said Erilst Lubitsch, firing the first gun in the
publicity campaign for "Angel," starring Marlene
Dietrich, directed by Mr. Lubitsch.
And his statement, which was much broader than
it was long, started something. A rumor that
Marlene was going light-hearted. A suspicion that
she was weary of being an Exotic Enigma, sultry in
a sombre way, or, if you prefer, sombre in a sultry way.
If Marlene, who has gone to so much trouble to
change her personality, is now going in for an un-
expected change, it is news. News worthy of ex-
planation. And if she isn't wearying of the Exotic
Enigma business,, that, perhaps, is news.
Whichever is true, she should be willing to answer
a few questions, to' establish the truth. Even if she
doesn't have much use for interviews any more.
It is difficult sometimes, but I still can remember
when she was not always thus.
I can remember when she was a contradiction of
practically everything that she seems to be today.
I can remember when she first arrived from Ger-
many, the new-found discovery of Director Josef
von Sternberg, and Paramount gave a huge party
to introduce her to the Press.
The Press was more impressed with the party than
by the guest of honor.
She was pretty, in a round-faced, wide-eyed way.
But wasn't she a bit — er — plump ? At least, the frills
and ruffles that she wore gave that impression. If
she had glamor, it was the glamor of youthful fresh-
ness, not of sedvictive sophistication and poise. She
was nervously self-conscious. She was obviously
awed by Hollywood. She was almost pathetically
eager to be friendly.
The writers, that day, had a vague impression of
a pretty German hausfrau, amazed to find herself in
this strange new world.
Paramount publicized her as the last word in ex-
oticism, and the writers wondered what Paramount
was talking about. Until they saw "Morocco." Then
it was their turn to be amazed.
Here was no pretty hausfrau, self-conscious and
timid. Here was a dazzling, daring creature, ex-
otically mysterious, impelling seductive, such an
"attractress" that it didn't much matter whether or
not she was a great actress.
Writers clamored for interviews. And Marlene,
flattered by the clamoring, eagerly granted them.
Grateful for friendliness from these strangers who
could do her so much good, she was friendly in
return.
But the writers, who were willing to admit that
their first impression had been wrong, and were pre-
pared to be startled now, came away with amazing
stories. Not stories about a woman with an exotic,
mysterious past. Not stories about the secrets of
attracting men. But stories that painted her as still
a hausfrau at heart. Stories {Continued on page 82)
BY
VIRGINIA
WOOD
A tense moment
from "The Adven-
tures of Marco
Polo." Gary, in
the title role, bids
farewell to his
princess, played
by Sigrid Gurie.
But he promises
hell be back. And
who could blame
him, after taking
one look at the
beauteous Sigrid?
GETTING THE BRE
IF GARY COOPER hadn't been forced to spend a
couple of years on his father's Montana ranch when he
was a kid, if he had followed his father's law profession,
if he had landed a job as cartoonist on a newspaper, he
probably would never have become an actor.
Unlike most of the present-day stars, the idea of taking
up acting had never occurred to Gary. When he came
to Los Angeles, with his sketch-book under his arm, Gary
wanted nothing more than to get a job as cartoonist .on
some newspaper. And even this ambition was not a
driving passion. The only reason he thought of sketching
was because he had a flair for drawing and had had a
smattering of newspaper training back in Helena, Mon-
tana, after he left college,
Gary wasn't even interested in acquiring great wealth.
All he really wanted out of life was a small car (hopped
up for racing), enough money to eat on and possibly rent
a horse to ride occasionally. Outside of that, the only
thing he honestly longed for was a real handsome saddle.
At any rate, after a long, hard siege of looking for
jobs, just doing anything, when he was finally called into
the casting office to work in a western picture, which
meant riding a horse and getting paid for it, Gary at
first couldn't imagine what had happened. He was sure
there was something phoney about a business which paid
people for doing the things they thought were fun. But
he had no choice in the matter. He'd spent too many days
living on crackers and milk to ask questions.
And then, when those same crazy people chose him
out of two hundred extras to play the role of Abe Lee
in "The Winning of Barbara Worth," just because he
was tall and lanky, Gary was convinced they were all
nuts. A modest gent, to say the least.
"Why, any of those extras could have played the part
as well as I," Gary remarked one day while we were
chatting on the set of "Marco Polo." "Gosh, I couldn't
act at all, still can't." Gary blushed a little and smiled
that crooked smile of his.
"It was just the break I got that landed me in pictures,
no matter what you say. The way I look at it is if I
hadn't happened to be there at that particular moment, I
probably wouldn't have been cast in the picture at all and
some other guy would have been lucky instead."
To say that Gary is modest would be silly. Gary
doesn't know what the word "modest" means, at least, as
applied to himself. He's so darned humble and honest
about himself he still, to this day, doesn't believe he has a
thing any other guy hasn't. Screen personality? Gary
thinks that's a lot of poppycock. To his mind, anyone
could do any of the things he's accomplished on the screen
and be successful if he's given the same breaks.
Yet in spite of this lack of confidence in his own knowl-
edge and ability, Gary has an uncanny intuition about his
roles and the pictures in which he appears. You never
hear Gary express the opinion, as so many actors do,
that a part isn't "right" for him or criticize a script
because it doesn't suit his own ideas. But occasionally,
at the most unexpected moments, possibly when he's half
completed a film, Gary will pop out with some unexpected
remark like, "Picture's no good," or "It'll be a hit." Out-
side of that, you'd never hear him complain. He just
goes on, doing the best he can, without comment.
Gary isn't even what you might call a self-made man.
If anyone was ever literally kicked up the ladder of suc-
cess, that person is "Coop." Gary never even looked
for a ladder, in the first place. (Continued on page 9d)
Gary Cooper admits if s luck and not pluck that gets you tiiere
40 i
ANNA MAY WONG is not staging,
a comeback, American style. She is
b^inning a movie career — for the
third time. Yes, Anna May and her
make-up box are parked on the Para-
mount lot, where she is playing in
"Daughter of Shanghai," the first of
a series in which she is to portray a
lady detective.
Paramount is making the pictures,
not due to the current conflict in the
Orient, but because of the tremen-
dous success of those Charlie Chan
features. To begin at the beginning —
which is just as good a place as any
to start — ^the idea is new to the studio,
if not to Anna May Wong. You see,
she offered it to them three years
ago, when they didn't think it worth
while. However, recently our hero-
ine was speaking to one of the Big
Boys on the lot. She asked him
which of two other companies would
be better to handle the series.
"Hey, what about us?" he de-
manded. I
"But, I didn't think you would be
interested in anything exotic, with
Miss Dietrich on the lot," replied the
very modest Miss Wong.
It appears that they were, for Anna
May is back, as we've said, in the
throes of her — Third Beginning!
YOU SEE, my movie life has really
been divided into three distinct parts,"
Anna May explained. "The first
period was taken up with my struggle
to win recognition. After that was
accomplished I got into sort of a rut,
neither progressing nor being re-
tarded. You know, there are so few
roles that I can play and at the time
they seemed to be always small ones.
"The result was that I had to stretch
my salary over the lean weeks when
I had no assignments. Well, just at
this time, along came an offer to go
to Europe and I accepted promptly.
"In Germany, they wrote stories for
me and I became a star. This achieve-
ment, I consider my Second Begin-
ning, for I went from there to Lon-
don and was successful in films as well
as on the stage. After finishing there,
I returned to America where my pic-
ture progress once again seemed" at a
standstill, until recently . when my
Third Beginning got under way."
There is no one more qualified to
portray Chinese characters than Anna
May Wong, even though she isn't
Chinese. Just a moment, you incred-
ulous, who take for granted that Anna
May comes from the land of cherry
blossoms and lotus flowers. When
first this little "Oriental" saw light
of day, she opened her eyes on noth-
ing more exotic than the palm trees
of our own California. What's more,
she never set foot on Chinese soil
until a year ago. Yep, Anna Mav is
an American {Continued on page 80)
Anna May Wong is back again — er, pardon us —
beginning agcrifi in ct series of detective stories,
the first of which is "Daughter of Shanghai."
BY ROBERT MclLWAINE
It's an old Chinese custom for a talented
girl to return to the scene of her success
41
Frccnces Farmer (left) is going places be-
cause she's different from the overage
good-looking blonde. Judy Garland
(above) isn't a classic beauty, but listen
to her sing and watch those black eyes!
Unhappy 'cause you're not
I'M . off on a different tack this month! I hope you won't
feel cheated if I do an article on personality and give the
beauty hints the go-by to a great extent. I'll find space
for a coupla beauty notions toward the end, so hush, and
listen to what I have to say.
The title speaks the truth : Personality is better than
beauty. Personality can get places where beauty finds
locked doors. Personality plus beauty is, of course, an
unbeatable combination and those who have it don't need
my help. But personality with only moderate good looks
— or personality, even, accompanied by downright physical
plainness is far, far more to be desired, my fellow country-
women, than Dumb Dora beauty alone. Personality — its
development and expression — demands gray matter, chic,
talent, perseverance and a good heaping cupful of courage.
It often needs a little help to bring it out. I'd like to help.
You've heard people say of a girl you know, "Have you
seen her lately? Why, she's a different person! So at-
tractive, my dear. And remember what a mousey little
thing she used to be?" Obviously, this enviable
girl has the same set of features she's always
had. She may have learned how to doll them up
a little. She may have learned how to fix her
beaui.
hair and she
Change is du.
this girl has
others. She h
a kick out of l
can happen to yt
There are a •
personalities get b
day. You're afraia
And — a most impo.
young personalities-
yourself. Pardon my
up first, because if you
When we're young, wt
others expect of us, instea
a pretty involved sentence, bu
to explain what I mean. I did i
and early twenties doing it now.
from a book or a movie and tried .
There is such a hunger for approval i
that young people put on a great show
objects and matters for which they don
I've heard young things express a gr<.
aas
ver.
Camera-wise even at the tender age of five
months! Looking right at the birdie, no doubt,
Bette poses informal like, with her Ma.
Papa Davis doesn't seem to share Bette's two-
year-old enthusiasm over this one. That's little
sister, Bobbie, on the left. Some hats, what?
A SMALL, fair-haired child of four years stood over her
smaller sister, shears in hand. With grim deliberation she
cut off every strand and curl of the little sister's pretty
hair. Then, as her mother's horrified face appeared in
the doorway, the four-year-old exclaimed triumphantly,
"Now she isn't going to be pretty. She isn't going to be
pretty any more!"
A problem child.
At the age of three this same infant would jump up and
down, point to an infinitesimal wrinkle, a barely discern-
ible spot on her clean gingham dress and cry, with rage
and revulsion, "Take it oft! Take it off!" Which her
mother, feeling that this passion for cleanliness denoted -
feminine daintiness, encouraged.
Yes, a problem child, laughs the mother of Bette Davis
today. But a problem only to those who were in intimate
contact with her, who could watch her strange little habits
and characteristics come out of their covets. So far as
any outsider could tell, she was a plain, quiet little thing,
with pale hair, pale eyes, pale skin, kinda skinnj', with
nothing to say for herself. She was, superficially, a most
unexciting little girl. She gave no promise of any sort.
In the New England town of Lowell, Massachusetts,
where Bette, christened Ruth Elizabeth, was born, not a
person could have been made to believe that "the little
Davis girl" would ever become an actress. An actress?
Fantastic! Why the poor little thing was as plain as a
pipestem, didn't say "boo" for herself, didn't even have
that provocative thing called "personality," that promising
thing called "precocity." She didn't even speak little
pieces for company, like some little girls did. Besides,
people like the Favors and the Davises didn't produce
play-actresses. Such didoes were not in the staid New
England blood. Yes, the good Lowellites would certainly
have pooh-poohed any such preposterous prophecy, had
any such been made. None was.
An hour or two after Ruth Elizabeth was born her young
aunt, her mother's sister, made the first recorded comment
ever made about Bette Davis. She stood looking down on
the delicate, five and three-quarter-pound atom, whose
hold on life seemed so thread-frail, and she murmured,
"Too bad, too bad."
Probably only Ruth Davis, the mother, with her gift of
"second sight," suspected from the first that the pale, quiet
surface of her first-born masked banked fires and hidden
furies and forces, not frail at all.
For Mrs. Davis will tell you, "Bette never could control
herself. Always, too, she had to be the center of every-
thing or she wouldn't play. In small ways, she would give
in pleasantly enough. Because she didn't care. But what
she really cared about she fought for, from the first. For
those who believe in astrology, Bette is an Aries child,
born on the fifth of April. She was, as Aries people are
supposed to be, always intolerant of criticism. She is still.
Criticize anything she does, or plans to do, and she will
seem to pay no attention at all, to shrug the criticism oft,
resentfully. In the end, she always accepts it and usually
acts upon it.
"Her one outstanding trait, as a child, was her neatness,
which was a positive passion. And it grew into a complex,
a monomania, which Bette is, only now, beginning to out-
grow. She will tell you that her house looks, always, as
though she were just about to move! Rugs being cleaned,
drapes being cleaned, bureau drawers turned out. When
she has guests, she will watch them with eagle eyes, pounce
upon an ash-tray the instant it has been used, and clean it
out, plump up cushions even as guests are relaxing on
them. She will go over things with a dust cloth and, five
minutes later, go over the same surfaces again.
"But I think," laughed Bette's mother, "that she is in the
process of being cured. Only the other night a guest in her
house walked out of it, saying, 'You may keep your house
spotless, Bette, but I am leaving.' She had cleaned an ash-
tray, plumped up a cushion, straightened a rug under
guest's feet once too often."
BETTE'S maternal grandparents were French. They came
to this country with the Huguenots during the Persecution
and settled in New England, where, in one locale or an
other, all of Bette's forebears on both sides lived.
The family name, on the maternal side, was, originally,
Le Fevre. Later it was Anglicized and became Favour;-]
finally, in the present generation, plain Favor. Bette, when
she first went on the stage, considered using her mother's
maiden name. She rejected the idea because she felt that
people would believe it a made-up name. Bette Favor
"Too literary," decided Bette, "too fictional."
On both sides of the family there were lawyers, minis-
ters, doctors. Bette's maternal great-grandfather was an
inventor. He invented, among other things, the first sew-
ing machine. He did not, I believe, market this invention.
But it was used by the women of his family. Bette's mar-
ternal grandfather was a civil engineer. Her paternal
grandfather was the president of a Southern college, also
.e I
1
a minister. On both sides were the strains of the stern
Calvinists, the Puritan tradition.
Ruth Elizabeth Favor and Harlow Morrell Davis met
when, as children, they spent their summer vacations in
Maine. They met every summer throughout their child-
hoods. Neither ever went with any other girl or boy.
And while Harlow Davis, a graduate of Bates College in
Maine, was still finishing his studies at Harvard Law, the
young couple were married in Lowell, Massachusetts, in
the home of Ruth Elizabeth's parents. And there, in the
yellow clapboard house in which her mother had been
born, on a chill April morning when the iron New England
winter was giving way, grudgingly, to the first pastel push-
ings and prongs of spring, Ruth Elizabeth, and eighteen
months later, her small sister, Barbara, were born.
THERE WAS little to distinguish Bette's first eight years
from the first eight years of any proper little girl in a
proper New England town. Bette and Bobbie were brought
up to mind their manners, say their prayers, respect their
elders, curtsey to guests. They went to the village school;
they attended Sunday school wearing their "best dresses."
hey were taught the Ten Commandments and the Golden
Rule. Grandmother Favor drilled them in the way things
were done "when I was a girl."
Perhaps the only "different" element in the conventional
Miss D. is growing up! And rather pleased
about it, too. You'd never think to look at her,
that she was a problem child, now would you?
Just ask Mama sometime!
Demure was the word for Bette when this was
taken. But even in those days she dreamed of
becoming an actress and, with Bette, that
meant it was os good as done.
pattern of their days was their mother. She was "ahead
of the times." She loosed the girdle of the New England
repressions wherever and as often as she could. Long
before the little girls wore bloomers with their gingham
dresses, Ruth Davis made bloomers for her small daugh-
ters. She knew that they would kick up their coltish legs;
she even knew that they had legs (oh, pioneer!) and
made allowance and provision for same. She was, also,
frank with them. She was gay and- himiorous and casual
and companionable. She became their friend almost in the
same hour she became their mother. Bette was to be very
grateful for this in the years to come.
Bette, as a child, never cared for dolls; never, so far as
her mother can remember, played with a doll at all. She
never had a "best girl friend." She had no hobbies. She
did not collect stamps, press flowers, monograms, scraps
for patchwork quilts. She ran with the pack or played
by herself. And from the time she could hold a book in
her hand, she read. She read everything. She read the
books of Louisa M. Alcott. She read "The Five Little Pep-
pers," the "Little Colonel" books. She read Grimm's Fairy
Tales. And her mother read her the classics, Dickens,
Scott, Bulwer-Lytton, Stevenson, Bret Harte.
When Bette was eight, her parents divorced. "We were
sent to Florida that winter," Bette remembers. "When we
came back, it was all over. There has been endless discus-
sion, innumerable books and articles written about the
'children of divorce.' I can only know how it affected me.
It didn't. Not at the time. That it affected all of my later
life, there can be no doubt. For had my mother and father
remained together I would never have gone on the stage.
My father would not have approved. And by the time it
would have been necessary for him to forbid it, I would
have been beyond rebellion.
"The girdle of New England repression would have quite
staved in my ribs. I would have grown up in New Eng-
land, gone to college, married, no doubt, settled down and
become an outwardly placid and contented housewife and
mother, an inwardly frustrated and bitter woman. But at
eight years of age I think I accepted the fact that it was
better as it was.
"Bobbie, on the other hand, took it terribly to heart. She
brooded over it and was miserable. Which certainly indi-
cates that you can't hold blanket theories about how chil-
dren of divorce are affected. It depends entirely on the
individual child. I had been uncomfortable — I won't say
unhappy, it wasn't as definite as that — by the sense that
She might have been a second Povlowa if she
hadn't preferred dramatics. Bette studied danc-
ing with Roshanara and this is the result.
Looks like the boy
friend's leaving Bette,
in spite of everything.
Grover Burgess and La
Belle in "The Earth Be-
tween." a Provincetown
Players opus.
my mother was unhappy, that something was wrong. I
didn't know what. That was part of my trouble. I always
want to know what! When it was over, that was finality,
and I always could, and still can, accept finality. We did
not have to face the twisted problem of living part time
with one parent, part time with the other. That's very
bad. That's tearing and confusing. We didn't see our
father again for many years.
"I do think that the children of divorced parents feel a
little strange, a little different from other children. There
must have been some self-consciousness about it in my
mind, because I never once told anyone that my parents
were divorced. I always evaded any talk about 'mama and
papa.' I remember thinking, 'There is something funny
about us.' "
WHEN THE children came back from Florida, the home in
Lowell was dissolved and the former life was as though
it had never been. Ruth Davis, always interested in pho-
tography, had decided to go to New York to study in order
to make of her amateur ability a professional and money-
making career. There would have been ample means, too.
Harlow Davis provided sufficient alimony for his family
to live quietly and with the ordinary comforts. But Ruth
Davis wanted more than the ordinary comforts for her
children. She wanted the extraordinary comforts and
culture. She wanted travel and study and the best schools,
all kinds of extra riches.
So, Ruth Davis went to New York. She placed Bette
and Barbara in boarding school in the Berkshire Hills.
And here Bette and Barbara lived and worked and studied
until Bette was in her teens. It was a good life. The
school was a farm and Bette learned to keep house, learned
something df farm life, of growing things, of seasons, of
the earth turning and the fruits it gives as it turns; learned
the "facts of life" from the unabashed and so unsullied
habits and matings of the animals.
"My childhood," Bette remembers, "was pretty much of
a monotone. If I had any distinguishing emotion at all, it
was that I was waiting for something. I didn't know at all
what I was waiting for. I can't remember that I ever
thought, much less said, that I would become an actress, a
waiter, an artist. I just sort of lived in a pleasant, static
If Bette'd done them in-
stead of Doncdd Meek,
the title of the play
might not have been
"Broken Dishes." Bette
hit Broadway in this
one and got raves.
mist, reading, doing what was expected of me, punctuating
this placid pattern with occasional rages when something I
wanted penetrated the coma, and I fought for it. Even
there I stuck pretty much to my own last. I didn't have a
roommate because I didn't want one. I was the type who
preferred a room of my own. I didn't have any confidantes.
I played hockey and tennis with the others as part of the
school curriculum. I hadn't then, I haven't now, any flair
for- athletics. I was an apt enough student. I never
plugged. I never gave any very brilliant scholastic per-
formance. I liked history and languages. I detested
mathematics and, later, chemistry. I was an A student,
I'd say, until my last two years in high school. Then I
decided to rest on the oars of my past record and have
some fun. But that was later on."
Bette was ten when the accident occurred. It is still
referred to in the family as "the accident." The dreadful
accident which so nearly made of Bette a charred mass,
unrecognizable as a human being, for all of her life.
It occurred at Christmas time. Ruth Davis was, then,
hostess-house-mother at Miss Bennett's School for Girls,
at Milbrook, New Jersey. She could not, because of her
duties, be with her children that Christmas.
At Bette's school they were having their school Christ-
mas tree. Bette, dressed as a small Santa Claus, with red
flannel suit, cuffs and collars of cotton wadding, was play-
ing near the tree. A candle snuffed out. The child struck
a match and relit the candle. The flame caught the easily
inflammable cotton stuff. And when the flames were
extinguished there was nothing but a blistering jeUy where
the child's face had been.
Bette says, "I think I displayed my first instinct for the
dramatic then. For as the flames were put out I heard
horrified exclamations all around me. I heard one of the
teachers wail, 'She is blind! Oh, God, she is blind!' I
didn't know whether I was blind or not. But I do remem-
ber feeling, with thrills and chills of morbid pleasure, that
this was my moment, my big dramatic moment. And I
deliberately kept my eyes tight closed, groped helplessly
about with my hands, until the full savor of that moment
was extracted."
Then there occurred one of those circumstances which
cannot be explained, which never has been explained, to
Don't look now. but that's Bette Davis 1 No won-
der Leslie Howard got the jitters in "Oi Human
Bondage," with ^fiss D. in a mood like this.
this day. No medical aid was given the child. She was
not rushed to the nearby hospital. No doctor was called
in. The resident nurse applied a few home remedies,
scented cold cream being one of them. And then, with a
teacher weepingly in charge, with the weather sub-zero,
Bette was sent to New York on the train with a group of
children going home for the holidays. The freezing cold,
the cinders from the train, worked further havoc with \ the
ravaged small face. And it was this unrecognizable face
which the mother, summoned by telegram to meet the
train, knowing that something had happened but not know-
ing what, was called upon to meet.
Ruth Davis will tell you today that she swore, for the
first time in her life, when she looked upon what seemed
to be the remains of her child. She swore such oaths, she
says, as she didn't know then, and doesn't know now, how
she ever knew at all. That frightful burn, that exposure to
zero weather less than an hour after the accident occurred,
the lack of medical attention, the trip on the train, hundreds
of cinders embedded in the raw flesh, the terrified, weeping
young teacher, Ruth Davis cursed it all.
BETTE," her mother tells, "proved then, that shfe can
meet the big things in life like a thoroughbred. Whatever
her faults, they do not include flinching in the face of
catastrophe. Nor welching. For the first words the
child said to me were, 'It was my fault, Mother,
really it was. Miss W told me not to go near the
Christmas tree."
Ruth Davis rushed the child to the nearest doctor. She
thought, "He may tell me that she will live, he will surely
tell me that she is maimed for life."
Bette says now, "I was too young to be worried about the
possible loss of future beauty. I was still not in acute pain,
that came later, and was still enjoying, little monster that
I was, my first undisputed spotlight."
The doctor told Ruth Davis that there was one way of
saving the child from permanent and horrible disfigure-
ment. But it was an impossible way unless thiere could
be a succession of nurses on the case. For the one way
was to keep the burned areas moist, constantly, unremit-
tingly moist, for fourteen days and nights. Every fifteen
minutes for a fortnight, pads saturated with a boric solu-
tion would have to be applied to the burns. "It means," he
told the mother, every bit as grim as he, "that you will
have to stay awake, day and night, for fourteen days and
nights. If you can do this the burns will not heal and
Nothing demure about
our Bette here! The Holly-
wood influence seems to
have set in and we have
real dyed-in-the-wool
glamor girl, no less.
Bette, Ruthie (her mother, to you)
and the pup arrive in Hollywood.
form scar tissue, they will slough oft and new skin will
form. It is the only way. I don't believe you can do it."
Ruth Davis said, "I'll do it." And she did. She took
Bette to Milbrook with her, at Miss Bennett's insistence.
And there, keeping the child in her own bed, a bell tied to
her wrist at night, the alarm clock set for every fifteen
minutes, she swabbed those burns every fifteen minutes
for fourteen days and fourteen nights. "I used," Mrs. Davis
remembers now, "jars and jars of boric solution, barrels of
bandages. Her hair was burned oft, of course, and she wore
wool caps with gauze underneath.
"Her suffering, after the first shock to the nerves, which
anesthetized them, was horrible. For three months her
eyes were red and inflamed. And this is curious, but it
was after the burn that her eyes became large, as they
are now. She never had eyes like that before the acci-
dent. I can't account for it, but there it is."
When, at long last, the buirns were healed and the new,
fair, unblemished skin had become a matter of miraculous
fact, Ruth Davis did one of the most courageous and
healthy things in a courageous career — she sent Bette back
to the Berkshire Hills school. She felt that it was, psycho-
logically, the sound thing to do. As there was to be no
scar on the child's face, she wanted no scar on her memory;
no place, no person who could, in the future, spell horror to
her. The only way to efface a memory of horror was to
build new memories over it, as new skin had been built
over the burns. Bette went back to that school. And no scar
tissue is left, either visible or invisible.
BETTE went, briefly, for one term, to the Northfield School.
And then entered the Gushing Academy in Newton, Mas-
sachusetts. It was at Gushing that Bette was to fall in
love. It was at Gushing that Bette first met Harmon Nel-
son. And it was at Gushing, too, that the formless dream
which, like a hidden current, invisible even to her, but
shaping the whole course of her life, began to take
definite form and meaning. She was to find love, she was
to find her career, she was to find herself.
It was not until Bette was between fourteen and fif-
teen that her looks changed. And little tendrils of beauty
touched her pale hair with gold, her pale skin with richer
cream and roses, her thin little body with delicate curves.
Bette tells you,. "I was standing in front of a cheval
mirror one evening while Mother tried on my first dinner
dress. She had made it for me, daringly, with^the neckline
cut almost to the collar-bone! I also remember Grand-
mother Favor looking at me and saying, 'Ruth Elizabeth,
you are not going to wear that where gentlemen can see
you, are you?'
"Anyway, I remember looking at myself and wondering
whether a stranger was standing there. I think it was the
first time I ever really saw myself. Gertainly it was the
first time I was ever conscious of myself as a woman. I
had been so plain. When I was around twelve or so I
think even Mother gave me up. She used to braid my hair
in two skin-tight braids as if she were saying that she
just couldn't make any further effort to gild the limp lily,
that there I was and what about it! I had skinny arms and
legs, teeth every which-way, never knew what to say to
people, couldn't get out a bleat when I was with a boy,
oh, awful! But as I looked at myself in the mirror that
night I exclaimed, 'My goodness, I think I'm quite pretty!' "
The miracle of the transfiguration must have been as
obvious as flags flying, the gold and blue and white flags
which were Bette's young beauty.
"For from the time Bette was fourteen," her mother told
me, "boys were interested in her. We were boy-ridden.
Wherever we were, wherever we lived, and we have lived
in seventy-three houses, all told, boys swarmed in the living-
room, in the garden, on all of the front porches! One despair-
ing lad mooned about our house in Newton threatening the
most ingenious methods of suicide for love of Bette."
But Ruth Davis was New England enough, perhaps with
enough of the French prudence where les jeunes filles are
concerned, to keep Bette pretty much a child until she was
past sixteen. She was well past sixteen before ever she
was allowed to go out with a boy alone.
It was on the occasion of one of Bette's dates that Ruth
Davis gave her first demonstration of "second sight," a
gift, if gift it be, she never suspected herself of possessing.
Bette had gone, one night, to a dance at Pemaquid Point.
It was summer and they were vacationing in Maine. Ruth
Davis, knowing that she was with two boys, felt, she says,
perfectly comfortable about her. But she always waited
up until the girls came in, and it being a mild summer
night, she thought she would take a walk, take in a movie
while she waited.
She was watching the movie when, suddenly, as though
a glass of iced water had deluged her, she broke out in an
actual physical chill and felt the still more horrid chill of
some formless but terrifying premonition. She cast a wild
Bette, John Boles and Raymond
Hackett in a scene from "Seed."
Always somebody's sister, in her early picture days, Bette is Mae
Qarke's in "Waterloo Bridge," with Douglas Montgomery.
Because he wanted dignity as well as youthful
charm, George Arliss chose Bette for "The Man
Who Played God."
Meet Mr. and Mrs. Harmon Nelson.. Bette calls
him "Ham," so it's probably just as well he's
not an actor!
Less dignity, but plenty of charm is displayed
by Miss D. for Dick Barthelmess' benefit in
"Cabin in the Cotton."
look around the darkened theatre and, in the row behind
her, recognized a boy she knew, another friend of Bette's.
Ruth Davis beckoned the youth to follow her. Outside, her
voice hoarse, she begged him to take his car and go for
Bette at once, at once. The lad, nothing loath, though
considerably perplexed, drove the twenty miles to Pema-
quid, told Bette her mother was very ill and needed her —
he had to say something strong enough to make her leave
with him — and brought her home.
Bette, of course, finding her mother perfectly well and
feeling, by this time, a little foolish,' was indignant.
"What," she demanded, "is this all about?"
Ruth Davis said, "I don't know."
Two hours later the phone rang. Ruth Davis answered
it. She hung up the receiver and waited a long cold mo-
ment. Then she woke Bette and said, "The boys, the two
boys you went to the dance with. Their car skidded and
went over a cliff on the way home. They were killed."
THE FIRST day Bette attended class at Gushing Academy
she saw Harmon Nelson. She says, "I liked him imme-
diately. I think I liked him, at first, because he had such
curious eyes, cold eyes promising warmth. Then I liked
him because he was such an indifferent louse. He never
paid any attention to any of the girls. He didn't seem to
know we were there. He didn't, certainly, pay the slight-
est attention to me. I went home and told Ruthie about ,
him. I said, 'I'm going to get him if it's the last thing I
ever do. You wait and see. I'm going to get him yet!'
"I don't suppose I was really in love with him. By this
time I'd begun to realize that I wanted to be an actress
more than I wanted anything else in the world. Yet it was
something, something that must have gone on through all
the time and all the things that happened in between,
because, after all, I did marry him! But at the time I think
my main interest was figuring how much fun it would be
if he should be interested in me.
"Ham was in charge of the Music and Minstrel Show at
Gushing that year. One day I met him in one of the halls.
He beamed down at me and said, 'Miss Davis, would you
be interested in singing in my show?' I said that I would
be. We practiced and rehearsed together. And I had a
lot of fun, skipping octaves on him and doing all kinds of
cute little tricks. I remember I sang, 'Gee, I'm Blue For
You' and wore a blue dress for the occasion, which seemed
to me to be just too subtle for words. I guess it was. So
subtle that neither Ham nor anyone else got the big idea!
"We did several theatricals together while we were at
Gushing. We did Booth Tarkington's 'Seventeen,' Ham
playing Uncle Georgimus to my Lola Pratt. We sang in
the Glee Club together and I would pour forth my heart
I
A star is born. Bette and Gene Ray-
mond get clubby in "Ex-Lady," her iirst
starring picture.
and soul in the more sentimental songs. But in vain. It
was humiliatingly obvious that Ham's interest was in the
music, not in me. On Saturday nights, from seven to nine,
we attended the regulation academy dances and I must
have harried my mother for new and fetching gowns to
wear. I know I sirened all over the place. But Ham
seemed to be as blind to my sirening as he was to deaf to
my song. And there really wasn't much chance for me to
be the seductress I fancied I could be, for the dances were
so weU chaperoned that the walls were perfect hedges of
chaperones. And the gardens were picketed, a picket for
every student!
"Sundays were made bright by what was known as the
co-ed hour. During that hour the girls and boys were
permitted to pair off and do a little sedate strolling about
the grounds. I used to pray for rain. I figured that if it
rained, an umbrella would be necessary and much might
be accomplished under the privacy, so to speak, of an um-
brella. But maybe one of our protectors had second sight,
too, or had once been young or something. At any rate, it
was suspicioned that perhaps kissing might go on under-
neath an umbrella and the privilege of the co-ed hour was
taken away, 'unless the weather is fair.'
"It was while I was at Gushing, too, that Mother called a
cute little turn on me. Ruthie was helping to pay for my
tuition by taking photographs of the graduating classes and
deducting them from the school fees. One day the princi-
pal of Gushing called me in and asked me if I wouldn't
like to help my mother by waiting on table. I was ex-
tremely indignant. I didn't say anything, but I just knew
that my mother wouldn't dream of allowing me to do any-
thing so menial as being a waitress. However, I sat down
and wrote Ruthie a sweet, filial little letter, telling her how
I realized all she was doing, how hard she was working and
couldn't I please help her out by waiting on table, thus
helping to pay my own way. You may imagine my blank
astonishment when I received, by return mail, a crisp and
appropriately grateful little note from Mother saying,
'Very sweet of you, dear, go ahead!'
"I did, and after my first pangs of outrage and humilia-
tion, learned one of the most valuable lessons I've ever
learned in my life. For I found out that the girls and boys
were fifty per cent nicer to me, seemed fonder of me, re-
spected and admired me more than they ever had before.
I've never been afraid of work since, however humble.
Wise Ruthie, she knew.
"She knew, too, I think, that I was beginning to entertain
a few delusions of grandeur. Perhaps, with her second
sight, she knew what was ahead for me and how much a
wedge of humble pie would help my digestion! I don't
know, I try," Bette laughs, "never to ask Mother anything
A couple of smoothies. Bette and Bill Powell,
try a little double-crossing in "Fashions of
1934." Nice outfit. Bette.
about the future. She would tell me! Anyway, I had be-
gun to think of myself as quite the actress. I never had
any trouble with the school plays. I learned the lines
easily. I loved rehearsing. I never suffered from stage
fright. I felt no self-consciousness. All of my quietness
and shyness and dullness and inability to talk to people
seemed to drop away from me, once I got a taste of acting,
even as an amateur. I've never been shy since, heaven
knows!"
Ruth Davis had been wise. For it was during those two
years at Gushing; that the pace of Bette's life which, so
soon, was to place the little New England girl, a star, on
Broadway, began to accelerate at appreciable speed.
Things began to happen.
THERE WAS a summer at Gamp Mudjkeewis in Maine
where Bette played in the camp production of "The Gourt-
ship of Miles Standish" and received such an ovation that
the very pine trees shivered under the sign of Aries. And
shortly after the performance, at a game of fortune telling,
Bette drew a card on which was written, "You are destined
to become a great actress."
At the end of two years, Bette graduated from Gushing,
and the principal said to her, "You can become a fine
actress, Ruth Elizabeth. But I hope you won't."
It was during the summer vacation preceding her last
year at Gushing that Bette and Bobbie and their mother
spent the summer at Peterborough, New Hampshire, where
Mrs. Davis had a house and a studio and Bette studied
dancing under Roshanara. It was Ruth Davis' skilful^
manoeuvering which made that possible. For the Mariar-
den School of Dancing, where Roshanara was teaching, was
expensive. Four hundred and fifty dollars for the two-
month term. And that was beyond Ruth Davis, who had
Bobbie's college tuition facing her, the expenses facing
Bette when she should embark on her career, whatever it
was to be. Perhaps dancing? For Roshanara had talked
with Bette and wanted her for a pupil.
Ruth Davis enrolled Bette in a small, relatively unim-
portant school of dancing next door to the Mariarden. She
then asked Roshanara if she would be good enough to
come over and watch the child dance. Roshanara, already
intrigued by a quality she felt but couldn't name, went
over. Bette danced and the famed dancer said, "I want
the Davis child." And so it was arranged.
Bette worked eight hours a day. She took the leading
parts in all the pageants. She felt, for the first time, the
definite knowledge that her personality was "getting over,"
that audiences "felt" her, were aware of her. At Gushing
they had been her friends, her schoolmates; that was
different. Here they were all strangers, there were many
Look out, Leslie, she's not as sweet as she
looks! Bette and Mr. Howard in a sentimental
mood from "Of Human Bondage."
professionals. And they knew that she was there, oh, they
knew! Roshanara wanted Bette to become her protege,
to continue her studies with her in the fall. But before
any such arrangement could be made, Roshanara died and,
with her, Bette's dream of becoming a dancer.
It was at Mariarden that Frank Conroy first saw Bette.
And he said to Ruth Davis, gravely, "She is something you
can't buy and can't imitate. When she is on the stage you
will never see anybody else, even if she never says a
word."
And it was during her last year at Gushing that Bette
saw Peg Entwhistle (later to die, so tragically, in Holly-
wood) do Hedvig in "The Wild Duck," with Blanche
Yurka. "Then I really knew," Bette tells you. "Then
everything focused to one pin-point of burning ambition.
I remember saying to Mother, 'If I can live to play that
part I shall die happy.' And Mother answered, with a
flash of that second sight of hers, I suppose, 'You will.'
"The year after I graduated from Gushing we spent in
Newton, Massachusetts. Mother took a house there, had
her work. She said to Bobbie and me, 'We'll take this year
to do some catching up, financially. In the fall you will be
going to college, Bobbie. In the meantime it won't do you
girls any harm to have a year at home being capable
housekeepers. You can cook and clean and darn and mend
and do the things every woman should know how to do.'
"We did. I've always had the suspicion that Mother in-
sisted upon that year of domesticity with the idea of test-
ing me, trying me out, waiting to see whether my desire to
go on the stage was real, or would dwindle away. It didn't
dwindle. I wasn't happy. I was champing at the bit. I
saw Ham occasionally. I still threatened to 'get him'!
But I was too obsessed by my desire to get to New York,
to get on the stage, to have much time or emotion for any-
thing else."
THE YEAR passed. Bobbie was safely enrolled at Denni-
son Gollege, in Granville, Ohio. Bette and her mother
closed the Newton house, packed bags, entrained for New
York. Bette's heart was set on studying under Eva Le
Gallienne, being admitted to her stock company. "My
whole heart was set on it," Bette will tell you now. "It
seemed to me that the very blood in my veins coursed in that
direction, that my feet pointed that way, that I pointed Le
Gallienne-wards, like a setter."
Dr. Favour was discouraging. The family frowned upon
the fantastic pilgrimage. No good, they said, would come
of it.
In New York, Bette and her mother took a room. A
very modest room. What did the room matter? They
were on the brink of the great adventure. They were
launching a career. "When you are living," says Bette,
"what does it matter where you live?"
Bette set forth, alone, for her interview with Eva Le
Gallienne. Every day, every week, every month, every
year of her life had, she knew^ been but steps to this
climax.
Bette says, "I had my interview. Eva Le Gallienne sat
there. She asked me to read the part of an old Dutch
woman. I did. She told me (how could she have known?)
that I did not take the theatre seriously. She told me, in
Thinking up a little verbal dynamite. Bette
was a newspaper gal in "Front Page Woman"
and maybe she didn't prove some competition!
effect, to go to hell. It was as brutal as it was unexpected.
"That was the first and almost the last time, until we
came to Hollywood, that we ever hit rock bottom. Under
Eva Le Gallienne's coldly critical eye I seemed to see
myself as — as the family saw me. That little Davis girl,
without beauty, without personality, without promise. So
cold and complete was this expulsion from my hope, my
dream, my very life that even Mother faltered. We de-
cided to give it all up as it had, so effortlessly, so curtly,
given me up before ever I began.
"Ruthie took a house in Norwalk, Gonnecticut, got a
job in a photographic studio again and I went mad. I
walked the streets. I talked to myself. I really was out
of my mind. I had to be an actress. I wasn't an actress.
I had to be an actress. I wasn't an actress, like a crazy
pendulum, my mind swung from nauseating discourage-
ment to furious rebellion. I would end it all, I would
show the world, show Eva Le Gallienne, Ruthie, the whole
family. I would stun, startle, astound; give performances
that would ring through the very hierarchies of histrionics
and become history: I would do nothing, be nothing, suc-
cumb, surrender. So it went. So I went almost crazy.
"There was a Yale boy. I'd go for long rides with him,
grim, silent. He wanted me to marry him, to give up my
crazy idea about being an actress. He said, I believe,
that I'd have to give it up or not marry him. I laughed
like a maniac.
"Four months of this, or was it five, or ten, or forever
and a day? I don't know. Then, one morning, I woke to
find Mother standing over me, shaking me, all but pinch-
ing and scratching me. 'Get up!' she commanded loudly,
'get up! We're going to New York. You're going on
the stage.' I thought, for an instant, that- insanity was
infectious and that she had gone off the deep end, too.
She got my best dress. I put it on. She told me how to
fix my hair. I fixed it. Then, looking, Ruthie often says,
like Lillian Gish in one of her most wistful, wild moments,
we entrained for New York, bag and baggage. This time,
I think I knew there would be no turning back. There
wasn't.
MOTHER STEERED me straight to the John Murray
Anderson School of Dramatics. She managed to barge
right into the presence of Mr. Anderson himself. She
said, 'My daughter wants to be an actress. You've got
to make her one. I can't afford to pay your tuition fee
all at once. I'll have to do it on the installment plan, a
little at a time.'
"Mr. Anderson asked to see me. His instinct of self-
preservation doubtless dictated that request. Ruthie, I
feel sure, looked quite wild. As she looked when she
saw me getting off the train after I was burned. She's
often said that my face, during those months in Norwalk,
was more terrible than.it was after the accident. Mother
walked into the outer office where I sat waiting, nipped
me by the sleeve and, quite literally speaking, commended
me to Mr. Anderson's professional care. He took a look
at me (looking my best at the time. Mother had seen to
that) and said, "I'll take her."
"Mother got a position at St. Mary's School. There were
three scholarships given at the John Murray Anderson
School. I managed to Win one of them.
"Also, for the first time, I was on my own. I entered
the school late, you see. There was only one girl who
hadn't paired off with- some other girl by the time I
arrived. A girl named Virginia C . We took a room
together in an old brownstone front house. And I had
my first taste of eating in cafeterias, doing my own wash,
drying my handkerchiefs on the window panes,' doing a
Miss D. seems to hove drunk a hearty meal in
this scene from "Dangerous," while Franchot
Tone keeps up his spirits with a glass of water.
little light cooking over the gas-jets. Good for me, all
very good for me. Virginia was good for me, too. She
was the first girl I'd ever known who used lipstick and
much too much of it. She was the first girl I'd ever
known who had had to fight life with her own hands
and wits and did. She was uneducated academically
speaking. But she was a Phi Beta Kappa in most of the
subjects worth knowing. She was all wool and several
yards wide. I not only became very fond of her, I also
felt a wholesome respect for her.
"We had a lot of fun those months. When Ruthie came
to stay with us we had a time rigging up a bed for her.
She wouldn't share our bed with us or let us take pot-
luck, because we were both working hard and, she in-
sisted, needed our sleep. So she'd tote herself up on two
chairs with a suitcase wedged between them to make a
'bed.' Every now and again during the night there would
be strange earthquakish sounds and they would be caused
by Ruthie falling into the suitcase, onto the floor, or fol-
lowing one of the chairs around the room when it parted
company with the other chair. Then we'd wake up and
laugh like three fools."
Bette didn't graduate from the John Murray Anderson
School. She didn't want to. She had got some confi-
dence. She had got over the chill dealt her by Eva Le
Gallienne. She wanted to get going. She felt that she
needed practical experience. And coincidentally with this
decision came a chance to go to Rochester, to play a bit
in "Broadway" with George Cukor's stock company there.
At the train as Bette was leaving, Ruth Davis said to
her, "I want you to learn the two major girls' parts in
this play, Bette." Bette said, "What for? I'm not going
to play 'em." Ruth Davis smiled. "Oh, yes, you are,"
she said, "for on the opening night the girl who plays the
lead is going to break her leg." The train started and with
the shriek of the engine was mingled Bette's shriek,
"Whyyy, Mooother!"
Bette learned the parts. To this day she can't explain
why she learned them, why she obeyed her mother who
was just being amusing, of course. Still, she remembered
Pemaquid. On the opening night the girl who played
one of the two leads tripped on the narrow circular stair-
case coming down from the dressing rooms and — ^broke
her leg!
Bette said, "I thought, 'Ohmigod, Mother has done this
to this girl!'"
But Bette played the part. And it was on the strength
of her having saved "Broadway" for George Cukor that
she became, shortly thereafter, a regular member of his
stock company in Rochester.
BEFORE LEAVING for Rochester, Bette had chance
to do a play, "The Earth Between," with the Provincetown
Players, that cradle of so much dramatic talent. James
Light, who was directing, had seen her work in "Broad-
way," and been sufficiently impressed to offer her the
part. But Bette turned it down, then. She felt that she
needed a great deal more working experience before she
"came into New York," as it were.
And so, Bette and her mother set up housekeeping in
The winnah! Bette captured the Academy
Award for her performance in "Dangerous."
Vic MacLaglen was another Academy winner.
And here we
have Bette
Davis just be-
ihg herself.
When she first
hit Hollywood
they called
her a "little
brown wren."
Not much re-
s e mblanc e
here, d'you
think?
One false move will fix Bette and Les-
lie Howard. At least that's how Hum-
phrey Bogort feels in "Petrified Forest."
"You see, it was like this , . ."or
words to that effect. Wayne Morris
and Bette in "Eid Galahad," above.
Rochester, about which there are amusing
anecdotes. Ruth Davis will tell you,
"Bette was earning fifty dollars a week.
I decided to give up my job to be with
her. We took an apartment in Rochester
and after we had been there a day or two,
Bette hated it. She has always been ab-
normally sensitive to her surroundings.
And she would wake up there and have the blue jitters.
She said she couldn't stand it, it was murky. We had a
lease. Well, we'd have to get out of that lease. But how?
"I finally devised a scheme. I took a shoe, a man's
shoe, and made tracks in the soft mud all around our
windows. Then I went to the landlady, told her my
daughter was extremely nervous, that a man had tried to
break into our apartment the night before and that if we
were forced to remain there my daughter would not be
able to work, the rent would not be paid, and what to do?
Then I went back home. A little later, as I had expected,
the landlady came sniffing around. She knew the ground
was muddy, that, if I had been telling the truth, which
she more than suspicioned I had not, there would be the
marks of a man's feet. There were. And we were
released."
It was in Rochester that Bette fell in love. And one
of the most poignant dramas in her dramatic life began.
For it was the old, old fictional angle of the young busi-
ness man of good family falling in love with the actress.
The old story of prejudice and parental opposition and
cross purposes and broken young hearts and tears. They
were very much in love, Bette and the young business
man. They became engaged. They planned to be mar-
ried. Bette met the family. They admired her, admitted
her charm, her gentle birth but deplored and rejected her
profession. Especially the father, who held the mid-
Victorian axiom that, married to an actress, his son were
better dead. It was as bad as that, and in the twentieth
century.
And so, when you say to Bette, "And what happened?"
she answers, "He threw me over. Shortly after George
Cukor fired me, for he did, I had. a letter from him.
Rather a cruel letter. He told me simply that it was all-
over. It sort of broke my heart. I didn't understand how
love could be 'all over' when it wasn't. I remember so
well the day that letter came. A scorching hot day. I
was in Newark, New Jersey, rehearsing for "The Wild
* Duck.' I was about to play Hedvig and I had said that if
I could live to play that part I would die happy. How
young and green I seemed to myself remembering, the
letter in my hand, that now I could never be happy until
I died. I thought, 'This has killed me.' I even put my
mutilated little rag of pride into my pocket and wrote
to him and told him that I understood (I didn't), that
I would wait. He never answered. I never heard from
him again, not for several years."
Bettfe knew heartbreak then. For five months, Ruth
Davis tells me, she went about like a wounded little ani-
mal. Then came the day when she cried out, "I'll make
him sorry!" And Ruth Davis knew that convalescence
had set in.
. ONLY A few years ago, in Hollywood, Bette had a
letter from that boy she had loved. He had never married.
He wrote that he was flying West to see her. Bette and
her mother entertained him. Bette swam with him, danced
with him, dined with him, laughed with him, at him, at
herself, at that old pain he had caused her, at her recovery
from pain. And then he went away again and Bette's
hurt was vindicated. Not that she cared any more, not
even for vindication. She remembered that she had loved
him and did not find it hard to believe. But the wound
was healed. And Ham had come into her life and her
heart again; love that was honest and humble and strong
and sure.
Bette never quite knew, doesn't know now, just why
George Cukor fired her from the Rochester Stock Com-
pany. Ruth Davis suspects that she may have been a
little bit to blame. Because she would never allow Bette
to go out with the company after the evening perform-
ances, nor any other time. Bette left the theatre with her
mother, went home with her mother. She was not, per-
haps, the kind of a person who put her fellow players
at their ease. Whatever the reason, she was fired. And
felt, again, that it was all over. Her first real job, and
fired. But Ruth Davis had learned a lesson from those
four months in Norwalk. Never again would she allow
Bette to suffer as she had suffered then. Action was the
only remedy. She said, "You telegraph James Light at
the Provincetown Players. Tell him you will play the
part in 'The Earth Between.' No, of course he hasn't
cast it yet. I know that he hasn't. He wanted you then.
He will want you now."
Bette played in "The Earth Between." She didn't, she
says now, have the least idea what the play, which dealt
with certain perversities of human nature, nor her part
were all about. Which is why, no doubt, she gave to the
character the young bewilderment, the sense of moving in
a mist. The play went to New York and all that night,
that opening night, Ruth Davis sat up, unable to sleep,
afraid, when morning came, to see the papers. Friends
brought the papers in, read the reviews aloud, sang them.
The most eminent and caustic of the critics told the world,
not only that "that little Davis girl" had promise, but that
she had kept her promise.
Ruth Davis said to the new young star, "If you let this
go to your head, you're through." And Bette answered, "I
can't let it go to my head, I think I'm terrible." Bette
has never, she will tell you, believed in her own success.
It is, still, the will o' the wisp which evades her.
She had a chance to understudy one of the Gishes. Again
Ruth Davis advised her. "Never be an understudy, or you
will never have an understudy."
There came, one day, a call on the telephone. Bette was
never to be sure just what the voice said. She managed
to pick up "Cecil Clavelli — Ibsen Repertory . . . Hedvig
. . . "The Wild Duck" . . . you . . ."
So, she was to play in "The Wild Duck." She got her
heart broken. She came down with the measles. She
remembers, "One of the most ebb-tide moments of my
life was when, with my heart in tatters, the part I wanted
to play more than an5rthing in the world put right in my
lap, I had to call and say, 'I can't do it. I — I've got the
measles!' "
The company waited for Bette. She learned three Ibsen
plays while in bed waiting for the more noticeable of the
spots to disappear. Then, still ill and feverish and "miser-
ably measley" she went on and played Hedvig. She says
now, "I'll never know how I got through that first night.
A more wretched, sick at heart, sick of body creature
never walked the boards. I thought, as I went in, 'I don't
knoW the lines. I don't remember one of them. I don't
know what I am supposed to say, or do, or be. Somehow,
I got through. Fools and children, I suppose . . . and after-
wards I went on tour with 'Wild Duck.'
THE FOLLOWING summer, deciding that I needed more
experience in stock, and having met a plausible young
man in New York, who told me that he was the manager
of the Cape Players and that I would be a too, too welcome
addition to the company, Ruthie and I bought an an-
tiquated Ford, piled into it every stick and ribbon we
possessed and chugged up to the Cape. We arrived, having
rented a cottage, by mail, in advance.
"We found that one Mr. Raymond Moore was the real
manager. I said to him, 'I am Bette Davis.' He looked
politely blank, more blank than polite. I said, 'Your Mr. —
told me I would be engaged.' He said, 'Mr. has no
authority.' I said, 'But here I am. What can I do?' He
said, 'You can usher.' And I did.
"All summer long I was head usher at the theatre where
the Cape Players gave their plays. And a very efficient
usher, if I do say so. Then, just at the end of the season,
Laura Hope Crews, who was coaching and producing the
Cape Players, needed someone' to warble, 'I Pass By Your
Window,' in 'Mr. Pim.' I rendered the number. And the
question was, was I an usher who had become an actress
or an actress who had become an usher?
"The question was never resolved to anyone's satisfac-
tion, but I didn't care. I didn't care much about anything
that summer because I had found Ham again! He was
playing in the Amherst Band, across the Cape, in the Old
Mill Tavern.
"I remember well the first night I saw him. Ruthie and
I had gone to the movies. I even remember the picture we
were seeing. Norma Shearer in 'A Free Soul.' I happened
to look around and there was Ham! I let out a blood-
curdling yell and got a good kick from Mother.
"All that summer, whenever I wasn't ushering and Ham
wasn't playing with the band, we went around together.
We tore around the Cape in the old Ford. We went swim-
ming. We lay long hours on the beach and talked and
talked and talked and grew to know, I think, even though
no words were said, that this was somehow very right,
that we belonged together.
"In the fall we went back to New York, Ham went back
to Amherst. Now and then, during the year, I'd go up to
Amherst to see him. He never saw me on the stage. Never.
He had a feeling about it. He said, 'I'd always think I
was annoying you.' "
In the fall of the year after "The Wild Duck" closed,
Bette tramped the streets, made the rounds of casting
offices, had what was really her first and was to be her
last taste of the experience of job-hunting. She and a
girl friend took a room on Fifty-third Street, another of
the old brownstone fronts, and the interlude of laundry-
done-in-the-basin, gas-jet meals, Ruthie sleeping on two
chairs with a suitcase wedged between.
And then, again the pace accelerated. Bette played the
part of Elaine Bumpstead in Marion Gering's production
of "Broken Dishes." Twice, Producer Gering had post-
poned rehearsals because he could not find the right Elaine.
Instantly Bette entered his line of vision he hailed Elaine.
And the critics hailed her, too.
During this winter Bette went out on dates for the
first time in her life. She remembers the first big date.
She says, "A girl I knew asked me if I would go on a
double date with her. She said, 'Could you manage a man
of forty, do you think, dear? You'll have to drink, my
dear.' I said I thought I could manage. We went to the
Ritz-Carlton for dinner. I was so excited. It was the first
time I had ever been to the Ritz. Cocktails were served.
I played with my glass, hoping to escape detection. Later,
we went on to a night-club, my first night-club. And
I was twenty-one! And when we started home, the 'man
of forty' said to me, 'It's so wonderful to meet a girl smart
enough not to drink!' I couldn't resist a triumphant and
distinctly malicious wink in the direction of my friend."
IT WAS while Bette was playing in "The Solid South,"
starring Richard Bennett, that Sam Goldwyn asked her,
through Arthur Hornblow, to take her first movie test.
Bette had never even thought of the movies for herself.
The test was for "Raffles." And it was, she says, horrible.
It was a silent test but it spoke, Bette recalls, with the
tongues of scorpions. From the test she found out, among
other things, that her teeth had to be straightened. Noth-
ing came of the test but a bill from the orthodontist. And
she did the last weeks of "Solid South" "with my mouth
bristling with bands."
The second movie test was for Universal. It was a
cold, cold day. She had to go to the extreme edge of New
York. Her nerves were on edge. And as the lights
went on and the director called "Action!" she gave him
action he had never expected. She went out, cold. When
she came to, she said, "Don't mind, I do this quite often."
"I was 'invited' to go to Hollywood, to Universal on a
three months' contract. I tried to get a new play before
leaving for the Coast, hoping that I might be able to stall
the inevitable. I didn't want to go to Hollywood. But
I didn't get the play and we did go to the Coast.
"We landed in Hollywood December 13th, 1930. The
meeting out here, I must tell you! No one met us. We
didn't know a soul, didn't know where to go, what to do.
I might not have minded so much if I had never done
anything in New York. I had been, indeed, rather spoiled
and pampered. And here we were, finally checked in at
the Hollywood-Plaza Hotel. I called the studio and said,
'My name is Bette Davis. I am here. I just came in on the
. train. What am I to do now?' There was an ominous pause
on the wire before a voice, very pallid, said, 'Oh, we were
at the station when your train came in, we didn't see any-
one who looked like an actress!'
"That stopped me. In the next few days I took a good
■* look-see about Hollywood. I should like to have died.
Those were the days when the movie girls were all too
damned flamboyant. Chromium blondes, clothes consist-
ing mainly of feathers, white fox, sequins and a very little
of those. And here was I, guiltless of so much as a Up-
stick. I had never used a lipstick in my life, except on the
stage. I had never been to a hairdresser's. My eyebrows
were as God had made them. I wore my hair long, a
nice neat bun at the nape of my neck. I smiled, a crooked
little smile because I was still remembering the brace
recently removed from my teeth. There wasn't an artificial
thing aboiit me. I looked like Alice wondering about
Wonderland!
"I must say this for Hollywood, whatever it may do for
people mentally, it does force women to make the most
of themselves, physically. You have only to look at the
pictures of any of us then and now to know how true
this is.
"But then, the terrible then! I hadn't been here very
long before it was borne in upon me that they weren't
going to do anything very great with me. Everything
they did do made me squirm. They bobbed my hair, which
broke me up, my 'crowning glory' and all that. They
took stills of me that were horrible. They gave me my
first part, the 'good sister,' in 'The Bad Sister,' with
Sidney Fox.
"I did a picture for Columbia, on loan, called 'The
Menace.' People fell out of closets and things. I don't
know what I did, not that it mattered. I felt a ray of
hope when I did 'Way Back Home' with the Philips Lord
gang. I did 'Seed' and 'Waterloo Bridge.' The hope didn't
last long. I was petrified of the camera. I always played
somebody's sister. And at the end of the year Universal
told me I could go. Where, they didn't say, nor, I can
guarantee, care.
MY LITTLE screening spirit was all but broken. I
knew that they had called me 'the little brown wren'
and that lamed my little ego which had been so pleasantly
propped up on Broadway. But I was really crucified
when I was told that one of the top producers at Uni-
versal had said of me, 'I know she's a good actress, but
you've got to be careful about casting her, same as you
have to.be careful about Shm Sumonerville!' I died forty
dusty deaths when I heard that. Nor was I exactly resur-
rected when my informant went on to quote the producer
as saying, 'She has no sex appeal. No one will believe
that a fellow would walk to the corner to get her!'"
Bette and Ruth Davis had just about dragged out the
suitcases when there came a surprise call from Warner
Brothers studio. The message was, "Mr. Arliss wants to
see Miss Davis."
Mr. Arliss wanted to see Bette for the part opposite
him in "The Man Who Played God." He wanted someone
with dignity, someone who would make it believable that
he would fall in love with her. Bette, with exciting mem-
ories of the great Mr. Arliss on Broadway, Mr. ArUss
in "The Devil," Mr. Arliss in "The Green Goddess," felt
that a miracle had befallen her. And she remembers, "He
scared me to death. His first words were, 'You look very
young, my dear. How much experience?' I said, 'Three
years,' and he smiled and answered, 'Enough to rub the
edges off.'
"I got the part and went into screaming hysterics. But
I must have managed the required dignity. For at the
end of the picture I signed my Warner Brothers contract,
a facsimile of the contract I had had with Universal,
one of the old, original Hollywood contracts, the very
same contract I have today!
"So, then I was a movie actress. Ruthie and I took
a small rented house. Bobbie, college over, joined us out
here. I began my endless chain. 'The Rich Are Always
With Us,' with Ruth Chatterton and George Brent, 'So
Big,' 'The Cabin in the Cotton,' with Richard Barthelmess,
which was a step forward, 'Three on a Match,' '20,000
Years in Sing Sing' with Spencer Tracy, and what an
actor he is! Nobody on God's green earth has any idea
how great he is, so great that no one knows he is acting!
I told Ham," Bette laughs, "that it's just as well we were
married just before I did , '20,000 Years,' because after I
met Spencer it might have been just too bad!
"It was in 1932, during my first year at Warners, that
Ham came out. And we knew that we wanted to be
married. But I felt, then, that the very worst thing
Ham could do would be to stay out here. I felt that it
would handicap him, wouldn't be fair to him. We didn't
have much time to talk it over, however, because one
minute after he i^rrived, Warner Brothers sent me East
on a personal appearance tour. Ham waited for me. And
for want of anything better to do he picked up his trumpet
and played in the Olympic Band at the Olympic Games.
I've always regretted that I didn't see him in his sash and
Here's something pretty
nice which we wouldn't
mind having around the
house! Hollywood brings
out the best in a girl's
looks, according to Bette
and judging from this,
she's right! ~
Together again. Bette and
Leslie Howard seem to be
pretty engrossed in each
other in "It's Love I'm After,"
Miss D.'s current picture.
V
turban! He must have cut a dashing figure!
"I was away for two months and when I came back on
the first of August, well, we were married on the eigh-
teenth. I knew then what I had always known, I think.
That Ham and I belonged together. I had just been afraid
for Ham, afraid of what Hollywood might do to his career,
afraid of putting hini in the position of being a star's hus-
band. I've said before that women with careers should be
shot, that the instant a girl-child shows any talent for
anything other than minding the baby or making fudge
she should be shot on sight. And I still say it. The things
that women with careers do to their men is murder. Now,
Ham is all right. He is with Rockwell O'Keefe, agents.
He is on his way, his own way. And he is so generous
of spirit, so considerate, so completely without mean rancors
or jealousies that we are all right. We've no worries now.
BUT THE wedding! That story must be told! When
Ham first came out, in 1932, it all started as a rib, one
of those wholly in earnest and partly in fun ribs. He'd
say to me, over a soda fountain at Hollywood and Vine
or wherever we happened to be, 'I think we ought to be
married while I'm here,' and I'd say, 'Oh, I think that
would be sort of silly!'
"We had a cottage at Zuma Beach that summer, Ruthie
and Bobbie and I. Ham stayed with us and the day would
be punctuated with our dotty dialogue. Ham: 'I think we
should be married.' Bette: 'If you get a job here I'll
think about it.' One bright morning Ham said, 'I think
we'll get married today.' And I said, 'Don't be ridiculous.'
Mother took me upstairs that morning and told me I'd
better stop my nonsense, that if I didn't marry Ham the
chances were that he'd go away, feel too discouraged
and not come back again. And then I'd be sorry. I knew
how sorry. I knew how right she was. Characteristically,
I didn't admit it, then.
"That night Ham drove us back to the Hollywood house.
He said, 'You're going to marry me tonight.' I said, 'I am
not!' He'd repeat, 'tonight' and I'd say, 'WeelU . . .' My
young cousin, who was staying with us, told me that
when I'd say, 'Weelll,' he'd get up and dress and when I
said, 'I am not,' he'd undress and go back to bed again and
that he kept that up for hours.
"Finally, close to midnight I said, 'Well' for the last
time. And, with the endurance of all concerned at the
breaking point, we set out for Ytuna, Arizona, two car-
loads of us. Mother, my aunt and cousin, Bobbie, two
dogs, Ham and I. Quite a nice little group!
"Came dawn and we were still a hundred miles from
Yuma, which was
hundreds of miles
more than we had
thought. The ther-
mometer registered
107 in the shade! Ham
and I hadn't spoken
one word the whole
way. It was on the
tip of my tongue to
say, 'This is horrible,
I won't go on.' Ruthie
stopped me. She
sensed the furies boil-
ing and said, 'Let's not
go on.' Which was, of
course, the one divine-
ly inspired thing to
say. For the mule in
me immediately gave
a back-kick of the
heels and told Ham to
step on the gas.
"We arrived in
Yuma. Everyone was
soaked to the skin. We
managed to get three
hotel rooms. We all
took baths and sat
around draped in the
counterpanes while
our wet rags dried.
Ham had to go out
and get a new shirt
and a wedding ring. I
kept muttering, 'This
is so awful it's funny!'
"When I was asked
whether this was my
first marriage, I said,
'My third.' That got
back to the studio!
"We were married
in the house of a
Methodist minister. The two poodles washed themselves all
through the ceremony. I wore a beige two-piece street
dress which resembled the sands of the Arizona desert
after the rain it never gets, brown accessories, and two
limp gardenias. I kept thinking of the picture I'd always
had of myself as a bride, dewy and divine in white satin
and orange blossoms, coming up a white ribboned aisle
to the strains of Mendelssohn, looking too divine.
"We then drove back to Hollywood. The next day I
had to be at the Santa Barbara fiesta, a promise to the
studio. We spent a hot, exhausted day fiesta-ing while I
kept up a running monologue to myself of 'This isn't the
way a wedding should be, this is revolting, this is per-
fectly horrible.'
"In October I had an appendectomy. We stayed at
the beach for a time and Ham would drive me to the studio
every morning, starting at five a. m. And would sit in
my dressing room all day long, waiting to drive me home
She works a good racquet,
tennis court. Here she is,
the court at her
again. And I had plenty of quahns and fears that my first
fears for him would come true. Now, it's all right. It's all
adjusted, beautifully."
Bette went on with her "endless chain." She made
"Bureau of Missing Persons," "Fashion Follies of 1934,"
"Fog Over Frisco," "Housewife." In 1934 she was loaned
to RKO-Radio and made "Of Human Bondage" with Leslie
Howard. "That picture," Bette says, "was the first honest-
to-God rung.'" She had high hopes of what that picture
would mean to her, the difference it would make. The
hopes faltered. The difference didn't come true. She made
"Bordertown" and "The Girl from 10th Avenue," "Front
Page Woman," "Special Agent." She made "Dangerous"
and won the Academy Award, but the Award was, ac-
tually, for "Bondage." It was righting a wrong which,
because of politics and deferred judgments, was done her
when the Award did not go to her for "Bondage." She
made "Petrified Forest" and "Satan Met a Lady" and
"Golden Arrow" and others. And she was tired and tense
and discouraged.
And then she went
away. She went
abroad, for the first
time in her life. She
travelled. And, in Eng-
land, she brought suit
against Warner
Brothers, seeking free-
dom from what she
felt to be the bondage
of her old, original
Hollywood contract.
. Bette lost the case, a
case so headlined as to
.be familiar to every-
one. But she is not
sorry that she did
what she did. She said,
"I was in such a state
of mind that I couldn't
be a good sport about
it any longer."
Bette did not make
money an issue. The
issues were the parts
she played. She wanted
the right to be loaned
out once a year when,
and as, particularly
fine parts were offered
her. She wanted time
between pictures, a
chance to rest, to
travel, to refresh and
refuel her used-up
emotions and energies.
She lost. But she
had, perhaps, the sat-
isfaction which comes
from striking out, even
though the blows hit
blank, unyielding
walls. It was so much
It was relief from tension. And
does Bette, but only on the
all set for a fast game on
Hollywood home.
out of her pent-up system
she felt better that she'd done it.
She came back and made "Marked Woman," "Kid Gala-
had," "That Certain Woman," "It's Love I'm After." She
enjoyed the last two especially. She was plea'sed to be
playing again with Leslie Howard. She was pleased that
the studio got Henry Fonda to play opposite her in "That
Certain Woman," a concession and a generous gesture since
they don't custon\arily, borrow players. She was pleased
because the two pictures offered a balanced diversity of
characterization.
She is now, at least, content. She has made up her dis-
ciplined mind to be content. The Powers That Be have
been, she says, completely charming to her since she came
back. The victors are generous in their victory as the
loser is gallant in defeat.
Bette, who, from the days of her childhood, has always
been able to accept finality, accepts finality now.
MODERN SCREEN
Now this New Cream with
Helps Tubmen's Ski/i More Direcfly
^^It keeps skin faults
away more sur*
— ELEANOR K. ROOSEVELT
A NEW KIND OF CREAM is bringing
more direct help to women's skin!
It is bringing to their aid the vitamin
which especially helps to build new skin
tissue, the vitamin which helps to keep
skin healthy — the "skin-vitamin."
When there is not enough of this
"skin-vitamin" in the diet, the skin may
suffer — become undernourished, rough
and subject to infections.
For over three years Pond's tested this
"skin-vitamin" in Pond's Creams. In
animal tests, skin became rough and dry
when the diet lacked "skin-vitamin."
Treatment with Pond's new "skin-
Eleanor K. Roosevelt on the
Roosevelt Hall, her ancestral hom
eateles, N. Y.
{Right) Sailing with a friend on
yond the sloping lawns of the estate.
daughter of Mrs. Henry Latrobe Roosevelt of Washington,
D. C, photographed in the great hall at Roosevelt Hall.
She says: ''Pond's new 'skin-vitamin' Cold Cream keeps
my skin so much smoother."
vitamin" cream made it smooth and
healthy again — in only 3 weeks !
When women used the creams, three
out of every four of them came back
asking for more. In four weeks they
reported pores looking finer, skin
smoother, richer looking!
Same jars, same labels, same price
Now everyone can enjoy these benefits. The
new Pond's "skin-vitamin" Cold Cream is
in the same jars, with the same labels, at the
same price. Use it your usual way for day-
time and nightly cleansing, for freshening-
ups before powder.
Every jar of Pond's Cold Cream now
contains this precious "skin-vitamin." Not
the "sunshine" vitamin. Not the orange-
juice vitamin. Not "irradiated." But the
vitamin which especially helps to rebuild
skin tissue. Whenever you have a chance,
leave a little of the cream on. In a few weeks,
see how much better your skin is.
TEST IT IN 9 TREATMENTS
Pond's. Dept. 9MS-CM, Clinloii, Conn. Kueh special
tube of Pond'e new "ekin-vitainin" Cold Cream,
enough for 9 treatments, with samples of 2 other
Pond's "skin- vitamin" Creams and 5 different
shades of Pond's Face Powder. I enclose 10(f to
cover postage and packing.
Name
Street-
City
CopyrlKlit. 1937. Pond's Extract Company
61
FOODS TO THE
MARJORIE
DEEN
Cocosticks built into a little
house are an interesting
Thanksgiving table decora-
tion. They're simple to make
and delicious to eat.
Courtesy Borden's
THERE IS no doubt that, from a
culinary point of view, the most in-
teresting day of the entire year is
Thanksgiving — when foods come
to the fore to receive a greater
degree of interest than is accorded
them at any other time.
So I was naturally delighted
when Spring Byington — that at-
tractive screen player, who so
charmingly enacts the mother in
pictures about The Jones Family —
discussed her Thanksgiving plans
with me and gave me some of her
favorite recipes.
First, we went into the subject
of table decorations for this occa-
sion. And I found that, in Miss
Byington's opinion, no table decora-
tions could possibly be more attrac-
tive than the foods themselves,
particularly the turkey surrounded
by other delicacies in colorful
array !
In describing the dishes she sug-
gested, we'll omit the first course
and start right oi¥ with the main
event. "Let's talk turkey imme-
diately," was the way she put it.
Both of us favored a light, dry
bread stuffing rather than a solid,
moist one. In outlining the rest of
her menu. Miss Byington suggested
many unusual ideas, several of
which are given here in recipe
form. Not too unusual, mind you,
for there are certain traditional
features which none would wish to
omit. But a new dish is always good.
The bird and the stuffing we
have already mentioned, and a
giblet gravy accompaniment can
also be taken for granted by us all.
Cranberries are also sure to be in-
cluded on every menu. This year
why not try Cranberry Sherbet,
for a welcome change? Its novelty
will carry the day and it will make
a particular hit with the younger
fry who like ices of all sorts.
FEW youngsters should go in for
rich pies and puddings. So why
not make them up a batch of Coco-
sticks, which you see illustrated
here? You'll find the recipe easy
to follow and the results will de-
light old and young alike.
Maple Marshmallow Sweet Po-
tatoes came up next for discussion.
But, why discuss them? Nothing
I can tell you could do full justice
to this dressy dish, so I'll just give
you the recipe.
Many people like squash served
as a vegetable on Thanksgiving.
Others who use squash for their
pie, prefer to omit it as a main
course feature. Here is a healthful
and simple recipe, and also recipes
for several other members of the
supporting cast of tempting foods
that appear on the same feature
program with this popular poultry
star. Read them carefully and
if you try them out we'll be
willing to wager you won't be
disappointed.
BAKED SQUASH
Scrub a three- to four-pound
winter squash. Place whole on a
rack and bake in moderate oven
until it is soft and can be easily
pricked with a fork. Cut in half,
peel and remove seeds and strings.
Mash the pulp and for each cup of
squash add 1 tablespoon butter, 1
teaspoon brown sugar, % teaspoon
salt and a light dash of ginger.
Moisten with cream to the desired
consistency, beating until light.
Place in hot serving dish and
sprinkle generously with seedless
raisins and a few chopped nuts.
CRANBERRY SHERBET
3 cups cranberries
2 cups boiling water
2 cups sugar
1 tablespoon lemon juice
}4 teaspoon salt
2 teaspoons gelatin
cup cold water
Pick over and wash cranberries.
Drain, add boiling water and cook
until berries are soft. Force through
a sieve or food mill. Add sugar,
lemon juice and salt. Bring to a
boil, remove from heat and add
gelatin which has soaked for 5
minutes in the cold water. Stir
until gelatin has dissolved. Turn
into freezing tray of automatic
refrigerator and freeze quickly. Or
pack in ice and salt in ice cream
freezer for several hours. Stirring
is not necessary.
62
MODERN SCREEN
FORE!
COCOSTICKS
yz cup sweetened condensed milk
1 tablespoon cocoa
7 slices day old bread
Yz cup finely shredded cocoanut
Thoroughly blend sweetened
condensed milk and cocoa. Re-
move crusts from 1-inch thick
slices of bread and cut each slice
crosswise into 1 -inch strips. Cover
bread sticks on all sides with
cocoanut mixture, then roll in
cocoanut. Place on greased cookie
sheet and brown lightly.
These sticks taste like cocoanut-
frosted chocolate angel cake. As
a Thanksgiving table decoration,
they can be built into a little house,
as shown in the illustration.
MAPLE MARSHMALLOW
SWEET POTATOES
2 cups mashed sweet potatoes
2 tablespoons evaporated milk
34 cup melted butter
Yz cup maple flavored syrup
Y\ teaspoon salt
10 marshmallows
Mash cooked, peeled sweet
potatoes until free of all lumps.
Putting them through a ricer
makes it easier. Add evaporated
milk, butter, syrup and salt. Beat
together thoroughly. Pile lightly
into buttered casserole. Cut marsh-
mallows in halves and place on
top of potatoes, cut side down.
Cook in moderate oven (375 °F.)
until marshmallows are brown.
TURKEY STUFFING
(10 pound turkey)
1^ small loaves day old bread
1 Yz teaspoons salt
Ya, teaspoon pepper
1 teaspoon poultry seasoning
2 small white onions, minced
fine
1 cup butter
Y\ cup water
1 tablespoon minced parsley
Pick bread, crusts and all, into
small pieces. Add salt, pepper,
poultry seasoning and minced
onions. Melt butter in large fry-
ing pan. Add bread mixture and
cook gently until thoroughly
blended and a very light golden
brown. Add water gradually,
blending well. Remove from heat,
add minced parsley.
MOTHER, MAYBE YOU WOULDN'T
BE SO TIRED IF YOU GAVE US
THIS GOOD SPAGHETTI OFTENER
ii
* TIRED FROM HOURS IN THE KITCHEN?
WORRIED ABOUT RISING FOOD COSTS?
Let Franco-American Helpl
f
Isn't it a help, in these days of rising food
prices, to find a delicious food that saves
you money every time you serve it.'* And
don't you think you deserve a little rest
every now and then? That's what you get
when you give your appreciative family
Franco-American Spaghetti — ready to serve
— on the table in a jiffy — hot, fragrant, sa-
vory with that marvelous "eleven-ingredi-
ent" sauce.
You can't fool friend husband! He knows
Franco -American the minute he tastes it. So
do the children. In two mouthfuls, they can
tell the difference between Franco-American
and any other ready-cooked spaghetti. And
they never seem to get tired of that marvel-
ous Franco -American flavor!
Use it as a delicious main dish— it's packed
with nourishment. Or combine it with left-
overs to make the third day on a leg of
lamb, for example, taste like the prize crea-
tion of a French chef. Send for that helpful
free recipe book that gives thirty appetizing
ways in which to use Franco-American. And
stock up at your grocer's today. It usually
costs only lOi a can— less than a portion.
Ffonco-^lmeficaiv spaghetti
The kind with the Extra Good Sauce — Made by the Makers of Campbell's Soups
MAY I SEND YOU OUR FREE
RECIPE BOOK? SEND THE
COUPON PLEASE
The Franco-American Food Company, Dept. 612
Camden, New Jersey
Please send me your free recipe book:
" 30 Tempting Spaghetti Meals."
Name (printi —
Address
City
-State-
MODERN SCREEN
Germs just scram
when I get my
Mennen Oil Rub/
•
"Boy, do I feel grand and Safe after my
daily body-rub with Mennen Antiseptic
Oil. You bet I do! 'Cause germs just hate
it. When I was born my doctor said, 'I
want this future president kept safe ... so
rub him daily with Mennen Antiseptic
Oil.' That's just what they've done.
And you ought to see my skin; I don't
know when I've had a rash or sore spot on
it. What's that? You want to keep your
baby's skin safe from germs, too? Then
take a tip from me — rub him every day
with Mennen Antiseptic Oil!"
Nine-tenths of all the hospitals important in
maternity work use Mennen Antiseptic Oil on
their hahies every day . Your baby deserves it, too'.
OIL
Wayne Morris (First print-
ing. Number of requests
370.) Here is a boy who
lias gotten tlie brealjs. and
he's made the most of them.
Born right in the heart of
Los Angeles, he attended
school and junior college
in California, then joined
the Pasadena Community
Playhouse School. He appeared in numer-
ous plays, the most successful of which
was "Yellowjack." In this a Warner
Brothers talent scout saw him and he was
given a contract with that studio. His
present ambition is to become a successful
screen star, and if that doesn't work out
then he'd just as soon be a salesman. At
the present writing he is gaining in popu-
larity by the day, but as yet he has no
business manager and no secretary. He is
six feet two inches tall, weighs a hundred
and ninety pounds, has blue eyes and blond
hair and is an all-around he-man. His
first really big movie role was the prize-
fighter in "Kid Galahad." He owns a pet
police dog, hopes some day to have a
stable of horses and a beach house, and
his hobby is keeping a scrapbook.
Jeanette MacDonald (Last printed May, 1937.
Total number of requests since then 053.)
It's hard to believe that the breathtakingly
beautiful Jeanette of today was ever
scrawny and freckled, with teeth too wide
apart and legs like pipestems. But it's
true. In addition to these very definite
handicaps, however, the young MacDonald
girl possessed a will of iron, indomitable
courage and an heroic ambition to succeed.
At the tender age of three she stood all
alone in a large Presbyterian church in
Philadelphia and sang the difilcult hymn,
"There Will Be Glory for Me." As she grew
If you'd lil^e to see a brief synopsis
of your favorite's life in this depart-
ment, and, incidentally, help boost his
or her standing in our barometer, fill
in ond send us the coupon on this
page, or, if that seems too much
trouble, just write. Your request will
be recorded whether you bother with
the coupon or not, as that is the only
gauge we have in rating the stars
each month. Try to save yourself two
cents by using postcards whenever
possible.
We answer general questions, too,
in these columns, so if you want to
know anything at all about anything
at all pertaining to the movies, fire
away, we're listening. Address: The In-
formation Desk, Modern Screen, 149
Madison Avenue, New York, New York.
older, girls made fun of her and mocked
her for this defect or that one. Jeanette
took it on the chin. And she fought back.
She exercised with spartan endurance.
Followed a rigid diet and before anyone
realized it there developed from the four-
teen-year-old ugly duckling of 1914 the
beautiful, golden Jeanette of today. While
still little more than a child, she danced
with Ann Pennington and others in Phila-
delphia theatres and then entered the lists
of Ned Wayburn's chorus girls. It was her
vivacious interpretation of
the title role of "Yes, Yes,
Yvette" that won her her
first important recognition.
After that, her career shot
upwards like a rocket, car-
rying her to the very pin-
nacle of success in Holly-
wood. Her most outstand-
ing pictures have been
made with Nelson Eddy,
but Mr. Eddy did not win her heart in real
life. It was Gene Raymond who, this past
June, marched Jeanette down the aisle in
one of Hollywood's most spectacular wed-
ding ceremonies. Her current picture is
"The Firefly," with Allan Jones.
Robert Kent (Last printed January, 1937.
Total number of requests since then 377.)
One of Hollywood's rising young men, of
whom big things are expected during the
coming year, Robert Kent has been an
able seaman, a prizefighter, a farm hand,
a bank messenger, a riding master and a
professional model during the course of
his career. His father died when he was
six years old, leaving his mother the sole
responsibility of fitting her son for the
years to come. She managed to make
enough money to send him through a
Brooklyn high school. After that he was
on his own and moved from job to job,
not as a drifter, but as a seeker. It was
his modelling job, ac-
quired because of his six-
foot-out-of-door physique,
that really began his the-
atrical career. He became
acquainted with a group of
players who called them-
J selves the Brooklyn Neigh-
.''tw^H borhood Theatre and they
H Sn^^B gave Kent a role in "King
Lear." Right then and
there he knew where his future lay and
he went after it hammer and tongs. From
one small stage role to another, he finally
landed himself a contract with Paramount.
He found, however, that a contract didn't
necessarily mean you worked in pictures,
so he tore it up and went back to the stage
to appear in "Kind Lady," with May Rob-
son. Darryl Zanuck saw him in this one
and he was signed by 20th Century-Fox,
where he has made a number of successful
pictures and where he still hangs his hat.
Rest assured you'll be seeing a lot of Mr.
K. during the coming picture season.
Most hospitals rub their
. babies with it daily
64
MODERN SCREEN
Put your iavorite
movie star at ttie top
oi the liarometer-send
your requests today!
Josephine Mazur, New Kensington, Pa. You
lose. Jack Haley did not sing in "Wake
Up and Live." The vocalizing was done by
Buddy Clark. Alice F.aye's latest picture
is "In Old Chicago," with Tyrone Power
and Don Ameche.
N. Gaddis Heller, Rumson, N. J. Errol
Flynu's latest picture is "The Perfect Speci-
men." Joan Blondell plays opposite him.
A. Bothenberger, Orchard Park, N. Y. Tyrone
Power is the son of the late Tyrone Sr.,
' and was not adopted. He has one sister.
U. W. Marshall, Excelsior Springs, Mo. Ad-
dress your request for pictures of the
Mauch twins to Warner Brothers, Burbank,
California. Enclose twenty-five cents for
each photograph desired. Address Freddie
Bartholomew, Metro-Goldwyn-Mayer, Cul-
ver City, California.
Rhoda Newman, Brooklyn, N. Y. Judy Gar-
land is thirteen years old, is four feet eleven
Inches tall and weighs ninety-tive pounds.
Ray Milland is married to a non-profes-
sional.
Willette Stasik, Duquesne, Pa. The young
man you refer to, who played the role of
Dick Grovernor in "Stella Dallas," is Tim
Holt. He is the son of Jack Holt and has
just been signed to a contract by Walter
Wanger. Address him Walter Wanger
Productions, United Artists, Hollywood,
California.
Ida Blanche Stage, Chattanooga, Tenn. At
this writing Sonja Henie is still number
one girl with Tyrone Power, so don't be-
lieve those rumors about Loretta Young,
Janet Gaynor, etc.
Jane Snow, New Rochelle, N. Y. Errol
Flynn is twenty-eight years old.
Janet Vermillion, Washington, D. C. Write
Nelson Eddy care of Metro-Goldwyn-
Mayer, Culver City, California.
Mrs. L.. Anderson, Milwaukee, Wis. Carol
Hughes is the girl who played opposite Joe
E. Brown in "The Earthworm Tractor."
Sylvia Plachinski, Cudahy, Wis. It would
seem you like Myrna Loy ! Well, here
goes: She has dark red hair, has a stand-in
and is now settled in her new home in Cold
Water Canyon. She married Arthur
Hornblow in 19.36. The question as to salary
we are unable to answer.
(Continued on page 98)
INFORMATION DESK, MODERN SCREEN,
149 Madison Ave., New York, N. Y.
Please print, free of charge, a brief life
story of
in your department
Name
Street
City State
If you would like our chart with weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
. . . UNTIL SHE LEARNED
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65
MODERN SCREEN
WITH MY
LANE HOPE CHEST"
says Rochelle Hudson
20th Century-Fox Star
Give This TRUE Love Gift
WHEN you select this romantic gift in
which your future home will start, be
sure it is a genuine LANE — the glorified mod-
ern Hope Chest, with exclusive features that
give absolute moth protection — backed by a
free moth insm-ance policy. Your Lane dealer
is now showing a glorious array of the latest
Lane models at surprisingly modest prices. See
these ideal gifts for sweetheart, daughter,
sister, or mother before you make up your gift
list. The LANE COMPANY, Inc., Dept.M,
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BETWEEN YOU
Fans, have your say-
for your letters.
If Ginger Rogers wants to go
dramatic or stand on her
head, her fans will back her up.
$5.00 Prize Letter
G— W— T— W—
They're having trouble casting Miss Mit-
chell's famous hit —
I'll have to take my pen in hand and help
them out a bit.
Now, first there's Walter Connolly — I
choose him for O'Hara —
Who so right as Walter for the bouncing
Squire of Tara?
I'd have the little Allan girl for Ashley's
gentle wife ;
Poor Ashley couldn't be miscast more than
he was in life.
And Ronald Colman I would cast to play
the part of Rhett;
Of course, he's not a Southerner — he's
English born — and yet
How eloquent his silences — his speech, oh,
how laconic,
And, oh, this Englishman can be so terri-
bly sardonic !
But Scarlett, no, I can't cast her — the
soulless little harlot ;
I hope no woman ever lived who fits the
part of Scarlett!
— Caroline Lawson, Oshkosh, Wis.
$2.00 Prize Letter
Chastising the Chatterers
Somebody invariably shrieks, "Look out,
Bob!" when some new, cute-looking youth
crashes the local theatre's screen. Any
minute you'd expect Robert Taylor to be
shoved right ofif the screen for keeps. The
endless stream of chatterers who are will-
ing to bet most anything that Bob's down-
fall will be greater and much more rapid
than his quick rise, must expect more than
a million admirers to suddenly forget that
there ever was a Robert Taylor and start
ranting about a new rising star whose
and win cash prizes
Try your luck!
WRITE A LETTER-
WIN A PRIZE
Make your letter or poem
brief, and say your little say.
This is an open forum, written
by the fans, and for them.
These letters must be abso-
lutely original! Don't copy or
adapt letters from those al-
ready published. This consti-
tutes plagiarism and will be
prosecuted to the full extent of
the law. Until now, it hasn't
been necessary for Modern
Screen to bring this to your at-
tention, but recently two of our
contributors have been guilty
of plagiarism. We hope this
warning will put an end to any
further unpleasantness.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; 2 sec-
ond prizes of $2 each; 6 prizes
of $1 each. Address: Between
You and Me, 149 Madison Ave.,
New York, N, Y.
career is anything but stable at present.
I can't find anything anywhere that gives
definite proof that Bob is waning in box
office or fan mail pull. Yes, new boys are
headed for the top at a steady pace, but
they have done that ever since Adam.
The screen needs a variety of new per-
sonalities. The new ones will eventually
take their places, but just as Fredric
March said in "A Star Is Born," they
will be ready for their curtain when the
time comes. Until that happens, my guess
is that Taylor won't grow grey hair over
"threatening" males. — Gordon Blackwell,
Orlando, Fla.
$2.00 Prize Letter
Battle Royal
Back in seventeen seventy-six.
This country was in a terrible fix,
The Red-coats and farmers were having
their fights.
But now look at the Taylor and Tyrone-
ites.
Across the country is raging a battle,
That can be heard from Savannah to
Seattle.
From the young school girl to the old
schoolmarm
Pour indignant letters filled with alarm
Over some snippy, uncultured flirt
Who had actually dared to assert
That handsome, sparkling Tyrone Power
Made Taylor look like a wilted flower.
And ardent fans had better not go
When Taylor was advertised at the show.
LANE
CEDAR CHESTS
THE GIFT THAT STARTS A HOME
66
MODERN SCREEN
9
N' ME
For it simply couldn't be a wow
With an actor (?) like S. Arlington
Brugh.
Oh, Robert is handsome and full of wit,
All this and more I'm compelled to admit,
An Arkansan's candid opin-
ion of Bob Burns is more bit-
ter than 'tis sweet.
But what wouldn't I give for one measly
hour
With a charming chap by the name of
Power !
— Jeanne L. Stark, St. Louis, Mo.
$1.00 Prize Letter
Patriotism or Temper
You may call this a letter of patriotism,
criticism, or an outburst of temper. I call
it another Arkansawyer's candid opinion
of Bob Burns !
It seems as if Arkansas is one of the
most ridiculed states in the Union, and I
fail to see why, as would anyone who
would care to investigate our state's
history.
I think vigorously, savagely and furi-
ously that the antics and so-called witti-
cisms of Mr. Burns are nothing short of
treason to our state. That anyone would
poke fun at and make his state the goat of
so many ignorant jibes is unthinkable. To
become famous' by making humorous films
about the hospitable, loyal and intelligent
people who claim Arkansas as their be-
loved home is not only very unjust but
also dishonorable.
Bob Burns may be world-famous, but a
few more pictures similar to "Mountain
Music" will only increase the hostile feel-
ings of his native friends. I'm from
Arkansas and proud of it, and I don't see
why Bob Burns shouldn't be, too. — Grayce
Higginbotham, Nettleton, Ark.
$1.00 Prize Letter
Backing Up Ginger
If Ginger Rogers wants to go dramatic,
I'm here to back her up. I would very
much like to see her in some more non-
musical roles again. Remember that splen-
did detective film, "Star of Midnight," that
she made with William Powell and those
hilarious comedy sequences? And, too,
that film she whipped up with Lyle Talbot
called "A Shriek in the Night?" It
mightn't have been an epic, but it had
what every film needs — entertainment. I'm
waiting for "Stage Door," for I have
faith that Ginger will outshine Katharine
Hepburn.
Now, don't get me wrong. My liking
for the Astaire and Rogers team hasn't
chilled. But I would like to see Ginger
a versatile actress. Look at Irene Dunne.
She switched from a musical, "Showboat,"
to comedy, "Theodora Goes Wild," and
did a swell dramatic job in "Magnificent
Obsession." So why can't Ginger Rogers?
Please let her strut her stufif with Mr.
Astaire and without him. Ginger's fans
will back her up ! — Josephine Crutcher, So.
Boca Grande, Fla.
$1.00 Prize Letter
Those Misplaced Eyebrows
Something ought to be done about those
slim-looking mustaches appearing on the
upper lips of such movie personages as
Errol Flynn, Clark Gable and Don
Ameche. A real honest-to-goodness mus-
tache lends quite an air to a certain so-
phisticated type of face or can (so I'm
told) cover a defective m.outh or a weak
one. But these misplaced eyebrows do
nothing but annoy.
As far as good looks go, the Messrs.
Flynn, Gable and Ameche have nothing to
hide, so why in Heaven's name they have
affected these awful things is a mystery
to me. What are they trying to do — look
like Jack Oakie?— Dorothy Reilly, Pel-
ham, N. Y.
(Continued on page 92)
"OKAY OFFiCER...HERE's)
A TICKET FOR YDU !" J
THEN SHE MAKES THAT CRACK
ABOUT MY BREATH AND HANDS
METHI5 DENTIST'S ADDRESS!
WHAT DO YOU MAKE OF IT, JOE?
I'D TAKE THE
TIP,DAN-
BETTER 60 SEE
THAT DENTIST!
BAD BREATH, HUH? MAYBE THAT'S WHY
MARYS BEEN GIVING WE THE RUNAROUND. |
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WELL.DAN, TESTS PR0VETHAT76% OF ALL
PEOPLE OVER THE A6E OF 17 HAVE BAD
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r
\.t^^V.-THANKS TO COLGATE'S
WHAT'
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OFFICER?
TICKET? NO MA'AM' I'M JUST
WANTING TO THANK YOU FOR
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THINGS UP BETWEEN ME
AND MY 61
M?U/—m BAD BREATH
behind his Sparkling Smile!
AND NO
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COLGATE'S!
67
MODERN SCREEN
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68
FOR BED
It
ND
BRIDGE
mart knits for
day or niglit
2476— This is called the
Tab Dress, and it isn't
difficult to see why.
THE trend in hand knits has defi-
nitely turned to one-piece dresses,
particularly in designs as chic as
the Tab Dress. You will always
feel at your best in the smooth,
smart lines of this dress, which will
give you that new "poured in"
look. And it's as easy to make
as it is smart.
Plan to make two or three cozy
bed sacques for Christmas gifts,
besides the several you'll want for
yourself. This stunning coatee is
made with a new gadget on which
innumerable charming shapes, in
eight different sizes, can be woven
simply by winding the yarn
around two metal disks that are
adjustable. The coupon below
will bring you free instructions
for both garments.
1 309— New and flattering
are the flower-shaped
designs of this bed
jacket. A grand Christ-
mas gift, incidentally.
ANN WILLS, MODERN SCREEN
149 Madison Ave., New York. N. Y.
Kindly send, at no cost to me,
Knitting directions for 2476
Crocheting directions for 1309
I am enclosing a stamped, addressed
(large) envelope.
Name
Street
City State
(Check one or both designs and please print
name and address)
MODERN SCREEN
Loretta Young may look cute
from here, but that hat didn't
set well a-tall with the cus-
tomers who sat back of it at
the tennis matches. However,
L. Y. serenely enjoyed the
game with lid clamped firmly
on dome.
Good News
(Continued from page 17)
Don't be surprised if Carole Lombard
changes her name to Mrs. Clarlc Gable
shortly after the Gable divorce becomes
final. There has been no particular evi-
dence of forthcoming wedding bells until
the other day. We ran into a chap who
just sold them a lot, which they bought
jointly, out in Brentwood Highlands.
Joan Fontaine, blonde sister of Olivia
De Havilland, got a break when she was
given the role opposite Fred Astaire in
"Damsel in Distress." And so did a little
extra girl on the lot. although the studio
hasn't publicized it. The extra gal doubled
for Joan in all the dances. Doubles don't
get much credit, but this one drew down a
hundred dollars a week for floating about
in the arms of Astaire.
One of the tragedies of Hollywood is
that a star can't afford much publicity of
the wrong type. Often, when a player is
being maligned in the public prints, there
are other angles to the case which the
reader never knows about. Such, accord-
ing to those close to it, is the situation
with George Brent. Since he lost his re-
cent suit for annulm^ent of his marriage
to Constance Worth, Brent has been
stamped as a villain by thousands of let-
ters to the studio. Yet, people who know
the couple say that if the whole truth
could be aired, Mr. B. would appear in an
entirely different light.
Know who's sleeping in Garbo's bed these
days? Jack Oakie, of all people. The
Oakies recently moved into Garbo's most
recently vacated home, and Oakie is enjoy-
{Continued on page 101)
soon
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Romance usually comes to girls with
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69
MODERN SCREEN
WORKED WONDERS
FOR HER SKIN!
.•M.skin u.as awful. I
my t mirror
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Name
MOVIE SCOBEBOARD
Picture and Producer
Qily
Canadian readere pie.
Slate
i send 10c to cover poBtage and duty
General
Rating
* Angel (Paramount). i-k
Angel's Holiday (20th Century-Fox) 1 *
Another Dawn (Warners) SVi
Armored Car (Universal) ^-k
Artists and Models (Paramount) 3 -A-
As Good As Married (Universal) 2~*t
A Star Is Born (United Artists) 4-^:
Back in Circulation (Warners) Of
Bad Guy (M-G-M) 2*
Bank Alarm (Grand National) 2V2*
Behind the Headlines (RKO) 2*
Between Two Women (M-G-M) 2*
Big Business (20th Century-Fox) 2-^-
Big City (M-G-M) S'A*
The Big Shot (RKO) 1 ★
Blonde Trouble (Paramount) iVz-k
Border Cafe (RKO) 1 ★
Born Reckless (20th Century-Fox) 2*
*The Bride Wore Red (M-G-M) 1 ★
Broadway Melody of 1938 (M-G-M) 3*
Bulldog Drummond Comes Back (Paramount) 1 -A-
Cafe Metropole (20th Century-Fox) 3
Call It a Day (Warners) SVz Ik-
Captains Courageous (M-G-M) 4-^
Charlie Chan at the Olympics (20th Century-Fox). 2y2
Charlie Chan on Broadway (20th Century-Fox). . . 2 Ik
Confession (Warners) 2-^
Crusade Against Rackets (Principal) 2:^
Dance, Charlie, Dance (Warners) 2*
^Dangerously Vours (20th Century-Fox) 1 1k
A Day at the Races (M-G-M) 31/2*
The Devil Is Driving (Columbia) IVz^k
Dangerous Holiday (Republic) ^Vz'k
Dark Journey (United Artists) 3 Ik
Dead End (Samuel Goldwyn) 4-^
Double or Nothing (Paramount) i-k
*Double Wedding (M-G-M) 3*
Dreaming Lips (United Artists) 2V2*
Easy Living (Paramount) 2V2*
*Ebb-Tide (Paramount) 2*
• Elephant Boy (United Artists) 3 ★
The Emperor's Candlesticks (M-G-M) 31k
Exclusive (Paramount) SVzlk
Ever Since Eve (Warners) 1
*Fight For Your Lady (RKO) 2*
A Fight to the Finish (Columbia) ^•k
The Firefly (M-G-M) ^-k
*First Lady (Warners) 3*
Flight from Glory (RKO) 2*
Fly-Awav Baby (Warners) 2V2*
Fifty Roads to Town (20th Century-Fox) 2*
Forty Naughty Girls (RKO) 2-*-
Frame-Up (Columbia) 2lk
Gangway (GB) 2V2*
The Girl from Scotland Yard (Paramount) 2^
The Girl Said No (Grand National) 2^
The Go-Getter (Warners) 2*
The Gold Racket (Grand National) 2*
The Good Earth (M-G-M) 4*
Good Old Soak (M-G-M) SVzlk-
The Great Gambini (Paramount). 1
*The Great Garrick (Warners) 3-ik
The Great Hospital Mystery (20th Ceniury-Fox). . 1 -k
High, Wide and Handsome (Paramount) "iVz-k
The Hit Parade (Republic) 2*
Hollywood Cowboy (RKO) 2*
Hotel Haywire (Paramount) 2-*^
*Hot Water (20th Century-Fox) 1 *
I Met Him in Paris (Paramount) 31/2 Ik
Internes Can't Take Money (Paramount) iViif
I Promise to Pay (Columbia) l-k
It Can't Last Forever (Columbia) IV2*
It Could Happen to You (Republic) 1 1k
♦It's All yours (Columbia) 2*
■'It's Love I'm After (Warners) 3-*
Jim Hanvey, Detective (Republic) 1
Kid Galahad (Warners) 3y2*
King of Gamblers (Paramount) 2-^
King Solomon's Mines (GB) 2^
Knight Without Armor (United Artists) 31/2*
The Last Train fromJMadrid (Paramount) V^Ak
The League of Frightened Men (Columbia) 2^
Let Them Live (Universal) 2*
The Life of Emile Zola (Warners) 4lk
The Life of the Party (RKO) 1 ★
London by Night (M-G-M) 2*
Lost Horizon (Columbia) 4-:^
*Love Is on the Air (Warners) 1 T/k
Love from a Stranger (United Artists) 2V2-*
Love in a Bungalow (Universal) 2-^
Love Under Fire (20lh Century-Fox) 21/2 ★
Make a Wish (RKO) 2y2^
Make Way for Tomorrow (Paramount) 3V2X
The Man in Blue (Universal) 2*
Marked Woman (Warners) 3*
Married Before Breakfast (M-G-M) 2V2*
Marry the Girl (Warners) iy2*
Mayerling ^Nero) 4^
Picture and Producer S,'
Meet the Missus (RKO) 2*
Michael O'Halloran (Republic) 1 *
Midnight Madonna (Paramount) ^"k
Midnight Taxi (20th Century-Fox) 1*
Mr. Dodd Takes the Air (Warners) 2*
Mountain Justice (Warners) i'k
Mountain Music (Paramount) ■ ■ • • 2-^
*Music for Madame (RKO) 2-*
New Faces of 1937 (RKO) 3*
Night Key (Universal) 2y2*
Night Must Fall (M-G-M)
Night of Mystery (Paramount). 1
Nobody's Baby (Hal Roach) 1 ★
Oh, Doctor! (Universal) iy2*
One Mile from Heaven (20th Century-Fox). . iy2*
On Again— Off Again (RKO) 1 ★
100 Men and a Girl (Universal) .•• 4-^
On Such a Night (Paramount) ^"k
Ourselves Alone (GB) 2y2-*
Outcasts of Poker Flat (RKO) 2y2*
Parnell (M-G-M) 2*
Parole Racket (Columbia) 1 "A
"The Perfect Specimen (Warners)
Personal Property (M-G-M) 2y2*
Pick a Star (Hal Roach) 2*
The Prince and the Pauper (Warners) V^h'k
Prisoner of Zenda (Selznick-lnternational) 4-;^
Public Wedding (Warners) 1*
Racketeers in Exile (Columbia) 2y2'*'
Ready, Willing and Able (Warners) 2^
Reported Missing (Universal) 2-^^
Riding on Air 2y2*
The Road Back (Universal) 3'*^
Roaring Timber (Columbia) i'k
Romeo and Juliet (M-G-M) 4*
San Quentin (Warners) 2y2-*
Saratoga (M-G-M) 3-^
Seventh Heaven (20th Century-Fox) 3-;^
Shall We Dance (RKO) 3>
*The Sheik Steps Out (Republic) 1*
She's No Lady (Paramount) 1 *
Silent Barriers (GB) 3*
Sing and Be Happy (20th Century-Fox) 2*
The Singing Marine (Warners) 3^
Slave Ship (20th Century-Fox) 3*
Slim (Warners) 3*
The Soldier and the Lady (RKO) 2y2*
Something to Sing About (Grand National) 2V4*
Song of the City (M-G-M) 1 ★
Sophie Lang Goes West (Paramount) 2y2-*
Souls at Sea (Paramount) 3-^^
*Stage Door (RKO) 4*
Stella Dallas (Sam Goldwyn) A-k
Super Sleuth (RKO) 1*
Strangers on a Honeymoon (GB) 2-^^
Sweetheart of the Navy (Grand National) 1 "A
Swing High, Swing Low (Paramount) 3^
Talent Scout (Warners) 1 *
That Certain Woman (Warners) 2*
That I May Live (20th Century-Fox) 1 ★
That Man's Here Again (Warners) 1 ^
"There Goes My Girl (RKO) 2^
They Gave Him a Gun (M-G-M) 3 Ik
Thin Ice (20th Century-Fox) 3y2lk
Think Fast, Mr. Moto (20th Century-Fox) 2 ★
The Thirteenth Chair (M-G-M) 2 ★
*This Way, Please (Paramount) 1 -yk
They Won't Forget (Warners) 3*
This Is My Affair (20th Century-Fox) 3*
Thunder in the City (Columbia) 2Vi*
Time Out for Romance (20th Century-Fox) \-k
The Toast of New York (RKO) 3*
Top of the Town (Universal) 2Vilk
Topper (Hal Roach) 3 It
Trouble in Morocco (Columbia) 2lk-
Turn Off the Moon (Paramount) \-k
231/2 Hours Leave (Grand National) 27^
Under the Red Robe (20th Century-Fox) 2y2*
Varsity Show (Warners) 3*
♦Victoria the Great (RKO) 3 ★
Vogues of 1938 (Walter Wanger) 3*
Waikiki Wedding (Paramount) 3^
Wake Up and Live (20th Century-Fox) 3 ★
Way Out West (Hal Roach) 2y2 ★
Wee Willie Winkie (20th Century-Fox) 4*
We Have Our Moments (Universal) i-k
When Love is Young (Universal) "i-k
When Thief Meets Thief (United Artists) 2 ★
White Bondage (Warners) 1 ★
*Wife, Doctor and Nurse (20th Century-Fox) 3*
Wild and Woolly (20th Century-Fox) 2 ★
The Wildcatter (Universal) 2*
Wild Money (Paramount) 1
Wings Over Honolulu (Universal) 2V4lt
Woman Chases Man (Sam Goldwyn) ^-k
The Woman I Love (RKO) 2y2*
You Can't Beot Love (RKO) 1 ★
You Can't Have Everything (20th Century-Fox).. 3 Ik
You're in the Army Now (GB) 2y2*
Turn to our Scoreboard when you're in doubt about what movie to see. It's a valu-
able guide in choosing entertainment. Instead of giving the individual ratings of
Modern Screen and authoritative newspaper movie critics all over the country, we
have struck an average of their ratings. You'll find this average under General Rat-
ing, beside each picture. 4^, very good; 3-^, good; fair; poor. Asterisk
denotes that only Modern Screen ratings are given on films not reviewed by news-
papers as we go to press.
70
MODERN SCREEN
A Letter trom Sliirlef
Consult a Doctor
instead of a Lawyer
(Continued from page 33)
stick him in his little tummy, but he never
says a word and he feels all right, so I
guess they don't. Maybe he chews the
points off before he swallows them. I
certainly hope so.
THEN Spunky, my Shetland pony, he
eats dog biscuits. Did you ever hear
of a pony eating dog biscuits? D'you sup-
pose he thinks he's a dog? It's just terrible
because, no matter how many biscuits you
give him, he always wants more, and he
steals them away from the poor little dogs.
And then Red, he's the parrot, he tries to
steal his meat. Red is just a crazy bird.
He's always having arguments with my
dogs, he tries to chase them away from the
pans when they have their dinner, and he
squawks and squawks and they bark and
bark, and there's plenty of racket, I can
tell you. Red just argues with anybody.
I guess he's a born arguer, he walks up
and down the wall and talks to the horses.
And when the horses don't pay attention,
he drops his bowl of food with an awful
bang and he yells, "Fire, fire, shut the
door." He thinks he's scaring somebody,
but shucks, we all know Red, we just let
him yell.
I wish you could see Spunky, though.
He's the darlingest pony, he knows all
kinds of tricks. He can bow, and he can
kneel, and he can roll over and lie down.
I mean, if he wants, to, he can, but Spunky
likes to tease you. Sometimes I want to
show people how cute he is, and I say
"Bow, Spunky," and he just kind of squats
down and looks at me. And he won't even
budge, no matter how many times you ask
him, and you can give him sugar and
everything, and he just looks at you. Then
if you go quietly away and peek around
the corner, there's Spunky bowing and
kneeling and rolling over all by himself,
and kind of laughing out of the corner of
his eye. I guess he likes jokes, too.
I don't know if it's more fun at home or
the studio. At home I have a red and white
playroom, because red is my favorite color.
I wanted my bedroom to be red, too, but
Mommy said blue is more restfuler, so I
said all right, because I like blue, too. But
red is my favorite. What's yours? I read
in my playroom, and at night Mommy
reads to me in bed. She's just reading me
"Tom Sawyer." Isn't that a beautiful
book? I love the Bible stories, too, es-
pecially the one about Lazarus. I don't
know why, I just like it best.
ONCE in a while I do something 1 think
is fun, but Mommy doesn't. Like one
day I thought I'd have a pie factory, so !
baked some pies out of sawdust and mud
and I made a sign, "Shirley's Pie Factory,"
and I stood outside the gate and I yelled,
"Wanta buy a pie? Wanta buy a pie?"
And all the cars stopped and bought my
pies. One lady wanted to send it back to
where she lived, Cincinutti or something,
but I told her it wouldn't keep, so she said
she'd put it in a bottle. I made twenty-
seven cents, that's quite a lot for mudpies,
but then Momm^ found me and thought I
better stop.
The lady says 1 can tell anything I like,
so I'd like to tell about Honolulu. I was
just there not long ago, when I had my
vacation When you have your vacation
I hope you go there, too, because they have
beautiful flowers and a nice long ride on a
boat and little brown babies and flying fish.
At first you think they're birds, but they're
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71
MODERN SCREEN
THIS FIAVOR'S
GOT SOMETHING
A dash ond a lilt
-a fresh, wake-you-up
taste that's deliciously
' smooth and lasting. Bee-
\y^S| man's flavor exactly suits
I mel And that ingenious
|; airtight package keeps it
right at the high pitch of
fresh perfection."
"But gracious, man,
you've left but the very
reason half the people
we know/ buy Beeman's
—they choose it as a
delightful way to top off
'most every meal, be-
cause Beeman's notonly
tastes grand but actu-
ally helps digestion!"
AIDS DIGESTIONi^^.:
72
not birds at all. They come right out of
the waves with their little silver stomachs,
and then bing ! they go in again, and they
don't even make the teeniest splash.
The first time you go to Honolulu,
you're malahini — that means stranger, be-
cause you never were there before. If you
go again, you're kamaaina — that means you
stopped being a stranger and belong there.
This time I was kamaaina. They have
nice words in Honolulu, but I'm certainly
glad I don't have to spell them.
All the people came on the boat and they
sang Aloha. It means, "How are you,
we're glad to see you, welcome." And
they sang "The Good Ship Lollypop," too.
That was a song in a picture with my
friend, Jimmy Dunn. And oh my ! the
leis. Everybody gives you leis. Mine were
mostly pikaki leis, they look like popcorn
but they smell even nicer. I had so many,
they stuck off my arms and shoulders, and
the only thing was I didn't have room to
carry my boy doll, Jimmy. It was all
right, except he'd rather have me carry
him. But when I saw him in the hotel,
what do you think? He had a lei, too,
so I guess he didn't mind, because on ac-
count of the lei he knew they were glad
to see him. That's what it means, you
know.
SOME of my friends I met the last time
came on the boat. One was Captain
Wilson, he belongs to the American Navy.
And one was Tai Sing Loo, he takes pic-
tures and he has two little girls my size.
One little girl didn't like her name, but
she likes Shirley, so now her name is
Shirley. I think that's pretty funny. She
just said, "I don't like my name, so now
I'm Shirley." I guess it's a pretty good
thing. I like Shirley, because if I said, "I
don't like my name, so now I'm Barbara,"
I don't know if they'd let me change it.
My friend Duke Kahanamoku came, but
I call him Duke, because the rest is too
long. He's very strong. He's so strong,
he carried me down to the dock on his
shoulders. I'm pretty heavy all by myself,
but being full of leis made me good and
heavy, so you can imagine how strong he is.
He didn't seem to care any more than if
I was a fly, and it was nice riding way
up high like that. Then we rode to the
hotel, and it was an open car, and people
threw leis at us. One hit me right in
the nose. I had to laugh, because it was
so awfully soft and smelled so very good.
We used to go swimming in a pool, and
there was a little girl named June and a
little girl named Martha, and a little dog
named Bozo. Bozo was a white little dog
with black ears and a black tail, and oh
my ! how he did love to go swimming in
the water. He'd just plunk right in and
go swimming round and round, with his
black ears sticking up. And if you called
him, he wouldn't listen. You'd think he
was in a race or something, he'd swim so
hard. Then he'd jump out and shake all
the water off and look around as if he was
proud of himself, and we'd say, "Hooray,
Bozo, you're almost as good as Duke." He
wasn't really, of course, because Duke is a
champion, but I guess if there were dog
champions. Bozo would certainly be one.
There was an octopus in the aquarium
who didn't like me. I don't know why, I
never did anything to him. I just put my
hands on the glass to see him better, but
other people put their hands on the glass,
too, and he didn't seem to care, he just
floated around. Only when I did it, he
ran clear to the back of the tank and he
turned white. Honestly he did. He was
a gray octopus, and he just turned white.
and some ink came running out of him,
and then he flew at me. My goodness, I
was scared. I forgot about the glass being
there and I jumped way back, and then
when he didn't see me any more, he turned
gray again.
The man who takes care of the aquarium
told me to go back, and I did, on account
of the glass being there. That's what
made me brave. I went back and I said
to that old octopus, "Ni men shih yin' shih
shu nif" That means in Chinese, "Are
we mice or men?" I learned it in "Stow-
away," and I say it when anything tries to
scare me. But I guess that octopus didn't
understand Chinese, because the minute he
saw me, he started bouncing round and
turning white again. The man said he
was frightened, because I didn't have a
hat on, and he doesn't like the shine the
sun makes on yellow hair. So if you have
yellow hair, you better wear a hat when
you go to see the octopus in Honolulu.
That's all I can tell you. If it's black,
you don't have to bother.
WE went across the Pali to see David,
my friend I met when I was there
two years ago. He has a grass shack to
live in and a mat he sleeps on, and a wife
and a little baby. He had the shack and
the mat before, but the baby is new.
The Pali is a mountain where a king
used to throw his enemies over the cliff.
Goodness, that's a high cliff. I'm certainly
glad I wasn't that king's enemy. There's
a nice thing up there, too, it's the Aloha
rock. It just looks like a rock, but if you
say Aloha to it, you have good luck. Some
of the people didn't want to bother getting
out of the car, so I had to make them.
I didn't want to be a nuisance, but I
wanted them to have good luck.
There were some jokes in Honolulu, too.
You can find jokes almost everywhere, I
guess. iF'rinstance, they have an outrigger
canoe, and the man said, "It's a Samoan
canoe." So I asked him if he was going
to canoe some more. I knew it wasn't a
some-more-an canoe, I was just pretend-
ing, because I thought it was a good joke.
I like to laugh. The man laughed, too.
But I wasn't pretending about the night-
blooming cereus. It's a flower and it only
blooms at night, in the daytime it's all
closed up. We went out to see it bloom.
When you put your hand inside, it feels so
nice and cool. I thought it was a serious
kind of flower, but Mommy said no, it
was a different kind of cereus, and just a
name. That wasn't a joke, it was just not
knowing the difference.
Daddy bought me a ukelele, and I
learned to play on it a little. I used to
say u-kelele, but now I say oo-kelele, be-
cause that's how they say it in Honolulu,
and it's their word, so they ought to know.
I asked the man who gave me lessons
what it meant, and it means jumping flea,
because your fingers jump around like fleas
when you play on it. I learned how to
play "My Little Red Opoo" that's a
very funny song, because "opoo" means
stomach, and it's all about a malahini who
doesn't know how hot the sun is in Hono-
lulu, so he lies on the beach and gets his
poor little stomach all red and sunburned.
I guess it wouldn't be so funny if it really
happened, but it's only a song.
When we went away, they sang Aloha
again. It means hello, but it means good-
bye, too, and we like you, and we hope
you'll come back some time. I never saw a
word that meant such a lot of lovely things.
So I guess I'll say aloha now to all.
Your friend,
Shirley Temple.
You'll talk about the flnita Louise story-in January Modern Screen
MODERN SCREEN
Mlady Minus Makeup
(Continued from page 35)
first time we've met since the days when
we were that way about each other. I
used to' run around with a whole crowd
of newspapermen and Ronald was one of
them. And we were so-o-o enamored of
one another — until I introduced him to
Una Merkel at a party. Well," and
Rochelle shrugged a shoulder, "they liked
each other just too well and were married
in less than a month.
"When such crises arise in my life, I
just remind myself fast of some tried-
and-true statements. You know, check it
up to profit and loss and call it experience ;
all's fair in love and war; men are like
street cars with another along in a minute ;
it was a lot of fun while it lasted. Oh,
there's any number you can whip up for
variation !"
"But isn't it possible that you can be a
good sport about such situations because
you haven't cared deeply? You've probably
never been really in love."
Rochelle suddenly looked up. "In love?"
she said quietly. "I doubt if any girl was
ever more in love with a man than I, or
ever had a heart so completely shattered
by it." She fitted a cigarette with great
care, into a paper holder before continuing.
"But I could take that, too. I even learned
to be grateful for it. You see, it taught
me how to be happy."
"The secret," she continued thoughtfully,
"is to never put your whole faith in any
one person. Have enough in yourself so
that life can never leave you in the lurch."
"Does that mean that you aren't going
to fall in love again?"
"Certainly not ! That was three years
ago and since then I've been in love plenty
of times and will be plenty more, no doubt.
But I'm not kidding myself that any of
these men have been ideal, or that I'll ever
meet up with an ideal man. There's just
no such thing. And that's not cynicism —
just common sense."
WHAT about marriage? Don't you
expect to find someone with whom
you can settle down and be happy ?"
"Marriage? Oh, certainly, some day.
But it won't be any of this little cottage
with roses 'round the door and babies on
the floor stuff. Uh uh!" She shook her
head. "Not for Rochelle ! As for happi-
ness, I don't expect to find any 1 Then I'll
be pleasantly surprised if it should come
and not a bit disappointed if it doesn't.
"As a matter of fact, I'd marry in a
second if I thought I had even a fighting
chance of being a little happier than I am
right now. But I'd know it was just a
chance. Marriage is undoubtedly the biggest
gamble in the world. And for me it has
to be a strictly fifty-fifty proposition. I
wouldn't take any more than I could dish
out. Any man whom I marry will have to
recognize the fact that I'm an individual
and expect to stay that way — as I would
expect him to stay. None of this melting
into one business for me. It seems to me
that two people should try to profit from
one another's personalities, not try to ab-
sorb them."
"Just what are you looking for in a
man you could marry?"
"First of all, a sense of humor. The
ability to see how darned funny I look
most of the time has been my saving grace.
Since I'm not expecting perfection in a
man, it's pretty important that he should
be able to see how darned funny he looks
most of the time.
.4
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73
MODERN SCREEN
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WORTH 354iai'
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"Secondly, I'd have to have a man who
was a do-er, with plenty of interests out-
side of the little wife. Because I couldn't
center my life around home and husband —
and I wouldn't have children for love or
money — it would bore me to death to have
anyone around not equally independent. Of
course, if I were like most girls, who could
be contented with entertaining eight of the
girls at the Assistance League or could
get a kick out of the Wednesday afternoon
bridge club, where talk concerns the latest
news in garbage grinders, or the best way
to strain the spinach for Junior, it would
be different. But none of this settling
down to a narrower mind and a broader
derriere for me !
"You see," said Rochelle slowly, "I've
been close to a lot of break-ups in my day,
and I've profited from all of them. I've
come to the conclusion that no matter how
much two people are in love with each
other, they should have such engrossing
interests of their own that they'll never be
dependent on one another to the point of
boredom. Then, too, they'll always have
something to fall back on if the marriage
goes on the rocks. By an engrossing in-
terest I don't mean, necessarily, a career.
"In my case, I could give up the picture
business and still have a hundred ways in
which to keep myself interested every min-
ute— music, dancing, painting, any number
of things. And I'd have to marry a man
as self-sufficient. Love is like fried
chicken, it seems to me. Very nice, of
course, but served up for breakfast, lunch
and dinner, it's apt to pall.
ANOTHER thing is that he would have
■to understand that I will have other
men in my life. I couldn't give them up,
you see, since I'd be giving up my only
friends. He'd have to have enough trust
in me to know that should I happen to
lunch with a producer, I wasn't taking a
short-cut to a contract."
"What about marrying a man in the
motion picture busir.ess? Do you think
you'd have as good a chance to make a
go of that?"
"Probably much better," Rochelle said.
"In the first place, we have a language all
our own here in Hollywood. I've certainly
found that out after going with a good
many men not in the movie game. For
instance, mention a grip and they think
your thoughts are not of the highest. On
the other hand, stocks and bonds, insur-
ance and other businesses have often
proved so much Greek to me. Then, too,
people in this business realize the odds
they're up against and work harder to save
their marriages. Though compared to a
good many other places in this country,
Hollywood is in the Sunday-school class
if the truth were known," she added.
"You evidently bet on Hollywood."
"Hollywood? Well, maybe I'm wrong,
but I think it's a grand town. And work-
ing in pictures is a grand job. But it isn't
my whole life by any means. The picture
business can't make me forget that there
are a great many other things older in the
world than the invention of celluloid. I'm
not the kind that eats, drinks and sleeps
movies. Unless something unforeseen hap-
pens, I'm through work at six o'clock, like
any other girl in any other job, and ready
to take off for some extra-curricular ac-
tivities.
"A round of every cocktail bar in town,
maybe, or just playing ping-pong in some-
one's rumpus-room, or dancing all night at
some swank spot or racing a boat by moon-
light in the Santa Monica harbor — doing
any number of things that are fun. I'm
always ready for anything, which accounts
more than anything else, I know, for my
popularity with men. For instance, this
evening I'm flying to Yuma with Lee Bow-
man." Lee Bowman, you know, is that
attractive young movie newcomer.
"Oh, no Yumatrimonial intentions !" she
laughed. "Just for the ride! I like to do
crazy things like that. It's nine-tenths of
the fun of living."
Life must always have been a lark, we
reflected, for anyone like this girl — so
lovely looking, so vivacious.
"Don't you ever believe it!" and there
wa,s a note of bitterness in Rochelle's
voice. "True, I'm a successful actress at
twenty-two, I have a substantial income, a
beautiful home, cars, clothes and more
opportunities for good times than I can
find hours in the day to cram in. But any
girl who envies my present position should
take into consideration some of the gruel-
ling years behind me. Take my high-school
days. That's the time when most girls
have the happiest years of their lives —
parties, clubs, close friends and all that.
Well, I missed out on that.
"I was too busy taking dancing lessons
and all the other necessary lessons when
I wasn't actually at the studio. Then the
rest of the time I had to go to regular
school, which was just as well," she added,
"for the girls at high-school snubbed me
beautifully and the boys couldn't see me
for dirt.
"The trouble, of course, with any girl
who is set for a career, is that she asso-
ciates so much with older people that she
becomes far more advanced mentally than
girls and boys of her own age. And she's
still too young to really enjoy the company
of older people. There's probably no misery
in this world greater than that of a girl
who's completely left out of all the fun
which she sees around her during these
adolescent years. Of course, now," said
Rochelle, "I can see that it was worth it ;
that I was building for a future. But there
are definitely two sides to this career busi-
ness, and any girl considering it should
have it pretty clear in her own mind
whether the end will justify the means."
D OCHELLE, you know, started her
■•■^ picture career at fourteen, when she
was given a leading role in "Are These
Our Children?" But she had started
rigorous training for it by the time she
was three. Her mother, who had always
wanted to be an actress herself, brought
her small daughter to Hollywood from
Oklahoma and began then to give her the
necessary training — posture, diction, voice,
dramatic lessons from the best teachers
she could afford. That all this was good
ground-work was proved by Rochelle's
steady progress when she once was started
in the business. To this day she has never
had to ask for a role, for producers and
directors know that Rochelle has two in-
valuable traits which they have frequent
need of — ability and dependability.
"They know, you see," Rochelle said,
"that I've never given a performance that
frankly smelled. They know that I've
built up a reputation to the extent that I
can go into a picture and carry it. And
that is the very thing that's proving my
undoing. For they figure that all they have
to do is put a yard of ruffles around my
neck and send me in."
Her eyes flashed as she said, "All these
lilies and blue birds are getting in my
hair — all these namby-pamby roles, and all
the publicity that's dished out to go with
them. I'm sick of waving the Janet Gay-
nor banner when there are plenty of
others to do that. I know that I can handle
dramatic roles which not only interpret,
but require, a deep understanding of life.
After all, sophistication is simply intelli-
gence. And I want the chance to prove
that the real Rochelle Hudson is sophis-
ticated !"
74
MODERN SCREEN
The Mistakes ol
Madeleine
.(Continued from page 27)
veritable Alps. I'd wonder furiously how
on earth I'd ever stumbled into such a
mess, and why it had been inflicted on me.
"I had to begin my acting by touring
the provincial theatres, of course, so when
I got my first chance at a play in London,
I was ecstatic. My supreme victory was
only around the corner ! My father, you
see, hadn't liked my going on the stage at
all, but my mother had stood up for me and
this vindication was to be spectacular.
"However, I met a clever agent who in-
sisted that I go to a picture studio and
try out for the lead in the most important
film then being cast. I'd never seen the
inside of a studio. Many established ac-
tresses had already been tested for this
part. Somehow they rushed a print of my
test through and before I departed that
evening I was offered a contract for the
picture at what was a fabulous sum to me.
I remember sitting up until three a.m. de-
bating with myself. Here was the miracu-
lous sudden fame I'd dreamed about, guar-
anteed !
"The film proposition was too tempting.
I deserted the stage and I was an over-
night hit on the screen. Yes, but do you
know what's liable to be the follow-up to
such luck? What happened to me after-
wards was nothing 1 Actually, I couldn't
get a job acting on either screen or stage.
I was dazed when finally I realized my
predicament. Furthermore, I was totally
unprepared for possible failure. My first
major mistake was becoming conceited. I
believed my own publicity. They'd taken
me after considering so many others,
they'd starred me and sent out reams of
flattering words. Then, although I was
all right in my performance, they had noth-
ing else for me.
"That lull that inevitably catches up with
you sometimes, caught me when I'd blithely
spent all my big salary with lavish ease.
I was a star, and no longer need I quibble
about small change. So I'd moved from
my boarding-house to a flat that was a
proper setting. And not until the memory
of my performance began to fade, not until
there was no more money rolling in, did I
recognize how silly I'd been. Spectacular
vindication ? I had to fold my feathers and
creep out of my grandeur. I was walking
again to save carfare. I was glad I'd
invested in some clothes. Eventually I
secured another role.
"My next mistake came after I was
fairly well set in pictures. I hungered for
greater versatility. I wasn't content with
scoring in my particular line. When, in a
story that was written for me, the other
woman turned out to be more interesting,
I determined that I could be equally ef-
fective in an unsympathetic role, as a
'heavy.'
"I mangled my make-up in my zeal. I
threw overboard all my own carefully-
acquired personality. And what thanks did
I get? Absolutely none. The picture was
a magnificent flop because I was a. disap-
pointment to everyone who'd begun to like
me. The public resented my switch. I
discovered then that on the screen you can't
attempt to be radically different from your
natural type. Perhaps this is casually put,
but it was no casual lesson. I was a very
sad 'heavy' and the sad fact was apparent
to everybody. It took time to make people
forget that mistake. I had to work harder
colds. ..I have to look
out for Jack's just the
same as Junior's...
"You know how men
are. Careless about
bad weather. Hate um-
brellas and overshoes.^''
When they start sneez-J^
ing, can't be bothered -f^/ •
with doing anything
about it. Then, when a cold gets 'em
down— what a fuss!
"Jack used to get one cold after an-
other. Honest, he wasn't fit to live with
half the winter. But this fall I decided
I wasn't going to put up with it. So I
started giving my big baby the sort of
care I'd been giving my little one.
"The very next time Jack came
home sneezing, he got Vicks Va-tro-nol
—quick!— 3 or 4 drops right up each
nostril. 'Lot o' good that'll do me,' he
grumbled. But an hour
or so later I caught him
using Va-tro-nol all by
himself. And, fortu-
nately, that's all there
was to that cold.
"He still takes some
watching, but he admits
that Va-tro-nol has helped him dodge
a lot of those nasty head colds he used
to get. 'Course, some colds get by in
spite of all you can do. But they don't
get by for long in our house any more.
"When Jack gets a cold I give his
chest— and back, too— a good massage
with Vicks VapoRub. He growls some,
but I know he likes it. Junior gets the
same treatment. I like it especially for
53
him because the doctor doesn't want
me 'dosing' him a lot, for fear of up-
setting his little tummy.
"I get Jack to treat me the same
way, too. The rubbing feels so good
when your chest is all tight and achy
with a cold. And, all the time, you're
breathing in those
VapoRub vapors!
"Pretty soon, you
feel relaxed and com- (
fortable again andean-^
usually sleep as sound^^^^^^ ■
as if you'd never had ^HW'm J'^^
a cold at all."
. . •
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76
than ever before to prove that I wasn't
merely a gaga ingenue after that
debacle. I had to work against the con-
viction that I wasn't much of an actress
for I'd been so unconvincing in that one
film."
She was being so candid that I was
seeing, at last, the human person behind
the familiar star personality.
"A producer asked me recently if I'd
care to do an unsympathetic role. 'It would
win you praise from the critics,' he pointed
out. 'They'd say how brave you'd been to
essay it.' My answer was no, and I related
to him exactly this experience I've told
you about. A woman, be she actress or
small-town girl, cannot repeat her mistakes.
Not if she wishes to escape inevitable pen-
alties for stupidity. It's too dangerous to
risk a blunder if you think you foresee
disaster. So far as the critics' praises go,
[ love them. But they don't matter com-
pared to whether the audience approves or
shakes its head. I know.
"My subsequent boner," she adores
American slang, "was in being highbrow
toward pictures. I preferred the stage em-
phatically. Movies weren't arty enough for
me. I resolved, therefore, to use them just
as a weapon against the world. I'd accu-
mulate fifteen thousand dollars and then
I'd have no more to do with them. I'd con-
centrate on the theatre and I'd always be
certain of eating. I'd never have to go
crawling back to papa. But after alter-
nating screen and stage, after coming to
Hollywood and learning how well pictures
can be made, I climbed off my high horse.
I discovered that there is true artistry in
pictures. Now I love acting in them, and
to think I might have cut off all this for a
mistaken whim !
"What rescued me for this most enjoy-
able future was my marriage. I'd almost
amassed my secret fortune when Philip
and I had to confess to one another that
life without love was pretty dull. He taught
me to relax, to view acting with a better
perspective.
"I didn't guess where our friendship
would lead us, though, and so I made quite
a mistake about love. I thought I was the
woman who could do nicely without it. I
contended it couldn't mix with a career.
Why, I gave out terrific quotes on why a
career woman could never make a success
of matrimony. I blush to recall that I even
wrote an article myself, painstakingly ex-
pounding on why I'd avoid the wedding
ring. I blush because Philip and I eloped
while that article was fresh on the news-
stands ! I overestimated my one-track
career mind, and underestimated my com-
mon sense. For it's as simple as this: if
a man can work and still be a good hus-
band, so can a woman !
"The worst mistakes we stumble into are
usually unconscious ones, don't you think?
You found me here, dawdling over a cup
of coffee. But I finished 'It's All Yours'
for Columbia recently, and I don't work all
the time. I learned not to. I had to learn
this. For after I married Philip I had a
nervous breakdown to teach me. A ner-
vous breakdown on a grand honeymoon !
That was being taught, believe me.
"But I'd made seven pictures and played
leads in four plays in London, all within
one year. I was too ambitious. I was
wound up without realizing it, and I nearly
wrecked myself. It got so I couldn't relax.
Philip had to show me how. I'd gone
about acting so doggedly. He had to say,
'You're not a person anymore, you're an
automaton !' He had to beguile me into
resting, into fighting for my health once
more. Yes, I knew exhaustion and what
a mistake it is to deliberately let yourself
in for that !"
She couldn't be profound any longer.
With a flip of her finger she dismissed the
gloves that had roused such memories.
"There are a couple of minor mistakes
lurking in my past," she declared with her
customary gaiety. "I turned down 'Caval-
cade' because, imagine, I fancied it would
be a failure ! I figured they'd have to
Americanize the play to make it appealing,
but they didn't and still, I'm not sorry !
That ofier came within a year after I was
married and certainly that was far too
soon to consider parting from Philip for
any distant glory.
"Once upon a time, only once, I made
that blunder known as letting your temper
go haywire. It was back in England and
I'd worked late. I was tired and asked
for a studio car to take me home. They
didn't seem to be obliging and so I stamped
my feet and screamed. P.S. : I didn't get
the car and I am positive I made a perfect
fool of myself!"
Such a lucky lady? Yes, and such a
smart one. Madeleine Carroll has every-
thing a woman could want now, because
she refused to be defeated by her mistakes
and because she never leads with her chin
twice.
Montgomery in a Mellow Mood
{Continued from page 37)
draped with Phi Beta Kappa keys.
"I believe in what we can do in pictures.
I know it. The camera can all but call
the dead back to life again. It can disinter
a story from the darkest archives of time.
It can take down the front walls of hos-
pitals and palaces where history is being
made, research laboratories and plane-
tariums, the dens of gangsters, prisons
and drawing rooms and expose the life
that goes on within all of these places.
I would like to do my part in taking down
these walls until, from the beginning, from
the amoeba up to the present day, all life
would be revealed upon the screen for
those who cannot read as well as for the
literate and learned.
"I would like to see history made so
stirring, so pulse-shaking that every man,
woman and child in the land would come
into possession of his country's history for
the first time, really, through the medium
of the eyes and ears.
"Why, don't you see, for the first time
in all the world we have it within our
power to make education and entertain-
ment one and the same thing? For the
first time we have the ability to educate
the people without their knowing what is
happening to them. Until, one day, the
many millions would be literate, would be
speaking with many tongues of many
things. Would come, at long last, into
their rightful heritage of the rich stores
of knowledge, into an understanding of
their fellow men, such men, as, say,
Rhodes, the Empire Builder, Louis Pasteur
and, such fellows, warped, as Danny. It
could be, it is, a tremendous adventure. It
should be a magnificent obsession. I share
with Rhodes his feeling when, dying, he
said 'So much to do, so little done.'
"I work at being a better actor," Bob
continued earnestly (we were lunching to-
MODERN SCREEN
gether in the studio commissary at the
time Bob was making "Live, Love and
Learn," with Rosalind Russell). And yet
I don't know that I can define, very m-
telligently, just what it is I do. Its an
intangible sort of thing, an actors oit-
screen work. It consists, largely, m read-
ing. I spend most of my leisure time
reading plays, plays, more plays. I read
biographies, the better novels, memoirs, i
watch people constantly, everywhere, i
almost sleep with one eye open, lest some
member of my family walk in his sleep
and I be enabled to make a mental note
of his expression. I never go to a foot-
ball game that I don't study the faces of
the players, and the crowd. I may not
know the final score but I do know how the
players looked when they scored or missed
"I went recently, to a championship golf
match I followed the contender around
the course all day. With one objective.
I knew that he was nervous, must have
been nervous. I wanted to find out how
he revealed his nervousness. And not
until the end of the day did I find out.
A nerve in his thumb joint was twitching.
That was all. I watch a man with a gun,
the way he always stands with his feet far
apart, braced. You may hand a man a
gun in a living room, in a field, anywhere,
and he will, instantly, spread his legs apart
and take a stance. I may never consciously,
or at all, copy any of these mannerisms,
these reactions. But all such observation
is the homework of an actor and en-
richens his perceptions, his basic knowledge
of the way human nature reacts under
given conditions and stimuli.
THERE are parts of my work I detest.
I am abominably lazy, physically. I
am not an 'outdoor' type. We have a
farm in New York State, as you know.
I am a farmer, so-called. A gentleman-
farmer, we hope. But I remain indoors
as much as possible. I am not at home
among the rows of growing corn, the
onions and the leeks. The sky is not my
natural canopy nor yet the earth my bed.
Similarly, and for much the same reasons,
I detest location trips. I am an actor.
Madam, and accustomed to darkened pits,
gloomy wings, the dust-laden air, the
kliegs. God's sunshine and the sage-sweet
air offends the nostrils of this one of God's
troupers. Am I a beagle that I should
work out of doors?
"And now," said Bob, as we finished
Bob's favorite and daily luncheon of
chicken salad, rye-bread toast and milk,
"and now, I want to ask my public, my
fans, if any, a question. I want them to
tell me what they want me to do next.
I want them to tell me, honestly, whether
they prefer me to do, not other 'Night
Must Falls,' too many murders would be
as deplorable as too many monkeyshines,
but other more serious, more thoughtful
roles. I hope they will tell me. Will you
ask them to? I would count it a favor."
Solution to Puzzle on Page 6
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I ENDS THAT PAINTED LOOK
MODERN SCREEN
DATE
NIGHT
"How about a date tonight?" Mr. M. inquires.
Who's he talking to? None other than that cute
little trick, Jane Bryan. Hope she's not busy.
"Wait 'til I get the soap out of my ears, Wayne.
So you want to go places and do things?"
Jane beams and you just know it's okay.
78
A corsage and everything! No wonder that Morris
boy is popular with the gals. When he takes 'em
out he does it in the grand manner, no foolin'l
MODERN SCREEN
Dinner ior two, with sott music on the side, we
don't doubt. Right at this moment, however, both
Miss B. and Mr. M. seem downright hungry!
What, eating again? Oh, pardon us, just a road-
side snack on the way home, eh? It's the popular
thing to do after an evening of dancing at the Troc.
The combination ol Wayne Morris plus Jane Bryan and a iree
evening means just one thing-going places to have inn!
ake ONE more mange
this time to Philip MorriS
It's not only good taste,
it's good judgment!
Because an ingredient,
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PHILIP MORRIS
AMERICAS
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79
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Third Beginning
(Continued from page 41)
citizen, combining the wisdom of the East
with the practicality of the West.
If you think you are confused about all
this East and West business, you're right in
the same boat with Miss Wong. For, it
was in order to straighten herself out on
it that she finally went to China for her
first real vacation. Of course, she had
planned to go for years, but whenever she
had the money she didn't have the time, or
vice versa. Then Metro began casting
"The Good Earth." They summoned Anna
May to take a test for the important role
of Lotus.
"I'll be glad to take the test, but I won't
play the part," said Miss Wong. "If you
let me play 0-lan, I'll be very glad. But
you're asking me — with Chinese blood — to
do the only unsympathetic role in a pic-
ture featuring an all-American cast por-
traying Chinese characters."
The test was made and the studio most
insistent, but Anna May was firm in her
refusal and decided that this was the
time to see China.
"You know," she commented, "I had to
be sure whether I was really playing a
Chinese or merely giving an American in-
terpretation of one. So — I saw China.
Much to my surprise, I needed a dialect
interpreter, for I spoke Cantonese and so
in Shanghai was at a total loss, with
Shanghai-ese being spoken on all sides,
T 'M afraid that I'm a woman without
a country," lamented Miss Wong, "be-
cause when I was in China everyone asked,
'Who is that Chinese girl in foreign dress ?'
I had only my American clothes and so
decided to have some Eastern costumes
made. I summoned a tailor in Shanghai
and he came with a long piece of string
and took my measurements. With the string,
he measured my neck and tied a knot, then
my arm length and tied another, then my
waist, and another on to the end. I asked
how in the world he ever remembered
which was which, but he didn't seem con-
fused and I later discovered that over
there it seems you simply can't make a
mistake.
"Once I changed to Oriental dress, I
thought I might recede into the background
and just enjoy being in China. But, no.
Everyone who saw me now asked. Who is
that foreign girl in Chinese dress?' So
what is there to do? It all seems equiva-
lent to that Great Chinatown Trunk Mys-
tery you hear so much about, but never
see !"
In answer to our query about the life
in Shanghai, Anna May explained, "The
night life there is so hectic that Paris or
New York gaiety is child's play by com-
parison. Why, if you go to bed before
four in the morning, you're a sissy. No
adult with a mind of his own ever turns in
before five or six. They can do more
after sundown and before dawn than we
do in America in a week-end.
"While abroad, I was visited by the
gentlemen of the press. During an in-
terview they asked about my private life.
'What about romance. Miss Wong? You
know the people of Japan and China are
interested in this side of your life, too.'
"I was so tired of being asked that ques-
tion that I told them I was going to wed
my art. Of course, I thought that that
bromide had reached the East years ago,
but to my surprise, it had not. Next day
I was amazed to see headlines stating, 'Miss
Anna May Wong to wed wealthy Can-
tonese merchant named Art !' Would you
believe it?"
During her ten months in China, Miss
Wong thrilled to the beauty and charm
of old customs. She didn't care too much
for the modern metropolis of Shanghai,
but really began to love China once she was
in Peiping. Here she felt that she really
began to live again. Most of her time was
spent in the country and visiting old ruins,
which seemed more alive than many of the
newer sections. This she explained was
due to the fact, that, even though they are
in a state of dilapidation, they are still
lived in.
/^HINA is becoming more and more
current-event conscious. Not only are
the people interested in what goes on in
and outside of their country, but they are
particularly interested in Hollywood's idea
of Chinese characters. They are so in-
terested in these, in fact, that they ban
most of our pictures. This isn't due to
narrow-mindedness or prejudice, but simply
to the fact that they have seldom beheld a
celluloid Chinaman who possesses a particle
of decency, sincerity, honesty or any quality
that might be termed a virtue. Movieland
Chinese are invariably presented as skulk-
ing, stoical, villainous characters who "kid-
nap the papers and tear up the child !"
We are wont to believe that turn about is
fair play. And so, perhaps Anna May, as
the Chinese lady detective, can pin some
dirty deeds on a few American characters
for a change. And we proceeded to tell
her as much.
"But I wouldn't do it," she returned,
with a glint of humor in her dark eyes.
"That is, not unless the script called for
it. Seriously though, many have an en-
tirely wrong conception of the Chinese as
a race. For the most part, they are a
very happy-go-lucky people. They are too
lazy to be up to mischief. They know
what to do about things, but it's just too
much trouble to go about it. They are a
philosophical lot and take for granted that
things will come out anyway, so why
bother so much? Not twice in all the
months I spent there did I see stoical in-
dividuals lurking around. My people have
animated faces just as have Americans; in
fact, it's only recently that they have be-
come serious about things concerning them
at home.
"The difficulty is that in a Chinese
family there is a unit within a unit and
no one real head of the house to take the
initiative and lead. Each unit, from father
to son, feels about things in an entirely dif-
ferent manner, and so there is a constant
waste of time and energy trying to com-
promise. You know, with the birth of the
Republic has come a new trend of thought
and only in the last few years have the
people begun to adjust themselves.
"Now, they look upon things with much
the same viewpoint as an American would.
There is more cooperation and certainly
more singleness of purpose. No longer does
the family group go their separate ways.
"For this reason," continued Anna May,
"I feel that the real Chinese should be
shown to the audiences of the world, if
only to correct false impressions of the
past. And so, with this thought in mind,
I was happy to appear in 'Daughter of
Shanghai.' Besides, this opportunity en-
ables me to start my Third Beginning in
the most unpredictable game in the world
— the movies."
80
MODERN SCREEN
Going to a Party?
(Continued from page 8)
important evening date when there will be
just the two of you and you're not sure
of what you're going to do.
But how about those formal evenmg
parties and dances that you _ know about
and plan for weeks ahead of time? I know
you've been itching to get on to June's
soft-lights-and-sweet-music gowns, and I
don't blame you, for they certainly are
lovely. Like so many stars, June was a
dancer before she made her success on the
screen, and ballroom dancing is one of her
favorite hobbies. She loves the cool swish
of the billowing skirt of her iridescent
moire taffeta waltz frock. Demure and
youthful are the wide, pointed front lapels
and shirred waistline. The bodice with the
three tiny velvet bows continues in a
straight panel down the front, leaving the
fullness to the back. Not€ the new hem-
line on the skirt, ankle-length in front and
leading out to the graceful train in back.
The delicate blue-and-green lights of the
taffeta set off her deep blue eyes and
blonde hair, and enhance the clarity and
beauty of June's faultless complexion. Ac-
cent is given to the color of her gown by
the gold formal sandals inset with multi-
colored stones. A practical note is sounded
here, because they have no definite color,
but are a combination of many. These san-
dals and a bag to match can be worn
with other evening ensembles.
For very formal engagements, for those
state occasions when she wants to look
her very best, June wears a stunning black
velvet frock, which is her pride and joy.
Ideal for the young girl who wants to look
sophisticated without adding about fifteen
years to her age, is this paradoxical gown.
For, from the heart-shaped bodice, peep
dainty, feminine, flesh-colored mousseline
ruffles that lend an air of little-girl de-
mureness to relieve the sophistication of
the black velvet. The Empire decolletage
drops off the shoulders and is held up by
the triple narrow shoulder-straps, and the
skirt is built on graceful circular lines,
full and flowing, that go with the winds
of movement.
Beneath her full skirt, June's dancing
feet will trip the light fantastic shod in
comfortable open-toed, open-heeled black
sandals, trimmed with silk braid. Her only
ornament is a handsome gold clip at the
This smart girl needed lots of ward-
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changed a scarf and a clever even-
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82
bodice. You will note that this young star
wears only very plain jewelry or none at
all, for she realizes that heavy jewelry is
not appropriate for a young girl, and also
that unless you can afford the real McCoy,
it is in very poor taste to load yourself
down with cheap, flashy jewelry. Instead,
she prefers to wear a very plain ornament
or a bright flower. If orchids are not on
your best beau's budget, don't let that worry
you or him either. For the flower manu-
facturers are doing a wonderful job these
days, and you can get artificial posies
that, sprayed with a touch of scent, will
fool even yourself !
The off-the-shoulder line, as shown in
this dress, is very important this year and
this means that we must pay attention to
our hair styles for evening. June's blonde
tresses are lovely, framing her face in
soft waves. Frances Dee, a vivacious
brunette, has designed a hairdress which is
very becoming to the gown which drops off
the shoulders. It is a charming and quaint
coiffure which is created by parting the
hair in the center with a nice sleek flat-
ness brushed in on each side. Corkscrew
curls complete the picture, arranged in
graduated layers. Against the face on
each side, two small gardenias are pinned
with the most flattering effect imaginable.
So much for the glamor of the frocks,
the fabrics, the accessories, and the coif-
fure. But don't forget that the good old
prosaic girdle plays an important part in
sustaining the glamorous effect. For a
sloppy figure is just not romantic! And
this is especially true this year, when so
much emphasis is being placed on the
feminine silhouette. If you don't need a
foundation garment to pull you in some
place, you'll want it to push you out, for
the formula works both ways, believe it or
not ! Like exercises, a foundation tends to
slenderize the plump, and fill out the
slender.
With the proper foundation underneath
it all, your frocks will fit you well, and
you'll be comfortable in them. And that
is most important. June Lang has shown
you three of her costumes as suggestions
for your party frocks. But be sure that
yours will be suitable for your own indi-
vidual type, that you'll feel well-dressed
and comfortable in them. Choose your
party frocks carefully, for if you're wear-
ing a dress that takes on your person-
ality, that looks as though it were made
for you alone, then you'll have a good
time at the party !
Dietrich Goes Light-Hearted?
(Continued from page 39)
that revealed her loneliness in Hollywood,
her longing for her husband and her little
girl, back in Germany.
The press-agents shuddered. They tried
to persuade Marlene not to talk about her
Maria. She was supposed to be exotic,
unusual, unconventional, unpredictable. Not
a typical young mother.
Marlene, at first, did not get the point.
Why should anyone expect her to be, ofif-
screen, what she was on the screen? She
did not comprehend when they told her,
"That's Hollywood." Off the screen, she
was a mother. Surely, it was understand-
able that she should want to talk about
her baby. She flatly refused to stop.
But the press-agents did not want her
to be understandable. That was just the
point. It was to her advantage, as far as
publicity went, to be a baffling personality,
a woman of mystery. To preserve the
illusion it was trying to create, the studio
suddenly made it difficult for writers to
interview Marlene.
The writers, not suspecting the studio,
blared forth that Marlene was "trying to
pull a Garbo." She couldn't have liked that.
She probably resented it. But she finished
what the studio started. She made herself
inaccessible.
Soon, she began to acquire a reputation
for being elusive off-screen. A reputation
for being exotic, ^unconventional, unpre-
dictable, difficult to understand.
With her husband far away, her constant
companion was sombre Josef von Stern-
berg, an association that gave Marlene a
reputation for being sombre, too. And
when her husband, Rudolf Sieber, did
visit her, taking time off from his own
directorial work at the Paramount Studios
in Paris, he and Marlene and von Stern-
berg made a bafflingly congenial threesome.
AGAIN, for a time, Marlene was seen
everywhere with Maurice Chevalier,
who had just been divorced and was, sup-
posedly, an eligible romantic. Yet Marlene
still denied divorce rumors about herself.
Hollywood was properly bewildered.
Then she did the most unexpected thing
of all. She had been the one top-notch
star who did not mind posing for leg art.
Now, suddenly, she sheathed her famous
legs, appearing everywhere in public in
tailored trousered suits. A startled Press
gave her a million dollars' worth of pub-
licity. And she calmly denied that her
trouser-wearing was a bit of shrewd show-
manship.
"I never do anything to attract atten-
tion," she said, without once touching her
tongue to her cheek. "I just happen to like
the comfort of men's clothes. They are
sensible. They never go out of style. They
save time. And I like that, because I am
lazy."
The spectacle of Hollywood's most fem-
inine star preferring mannish clothes was
the clinching proof that Marlene was an
exotic.
In one respect, she made no compromise
with her publicity. She brought her little
girl over from Europe to be with her. She
did not attempt to conceal the child, or her
love for the child. They were inseparable.
Marlene was patently proud of her mother-
hood.
That one exception to the general im-
pression of Marlene's exoticism only made
her the more baffling.
Then, last fall, Ernst Lubitsch, perhaps
innocently, started the rumor and the sus-
picion that we were about to see a new
Dietrich. A Dietrich less concerned with
being exotic. A gayer, light-hearted Diet-
rich.
And events tended to confirm the rumor,
the suspicion.
Marlene, in London, was going out to
gay parties, and gay clubs, far more than
she ever had in Hollywood. She was in
the thick of the social whirl. And her
constant escort was no sombre sophisticate,
but a gay young man named Douglas Fair-
banks, Jr.
In America, she had always avoided
crowds, remaining a woman withdrawn. In
London, she was constantly going places
where police reserves had to be called, to
control the mobs.
Then, an incident happened during the
MODERN SCREEN
filming of "Knight Without Armor" in
England that indicated an amazing good
humor on Marlene's part. In a bathtub
scene, she slipped, sprawling naked be-
fore the camera crew. They were unspeak-
ably flustered. Not so Marlene. She
laughed, picked herself up, climbed back
in the tub, went on with the scene.
Then she returned to America, and one
of the first things she did was to visit the
Chief Naturalization Clerk in Los Angeles.
All these years, America had had the im-
pression that she was not particularly fond
of America. Now, light-heartedly, she was
declaring her intention of becoming an
American, herself.
Soon afterward, for the first time within
recent years, Hollywood was conscious of
Marlene's going to parties, big, gay parties.
Then Douglas Fairbanks, Jr., arrived in
town. And the London association con-
tinued in Hollywood. Once again, Marlene
den'ed divorce rumors.
This time she said : "A woman ap-
proached me in London recently, asking
what my husband could possibly mean to
me when we were separated most of the
time. I told her to consider the possibility
that love might have something to do with
it.
"I consider Mr. Sieber the perfect hus-
band and father. After saying that, it's un-
necessary to add that these persistent
rumors are very, very wild."
Those who had doubted Marlene's in-
terest in comedy, even Lubitsch comedy,
saw her start "Angel," and saw her ap-
parently enjoying it. They were able to
see her because the "No Visitors" signs,
once a fixture on Dietrich sets, had been
taken down and put away. Apparently, the
Dietrich temperament had been put away,
too.
Hollywood remembered the von Stern-
Can this be romance? Mickey
Rooney and Judy Garland, all
dressed up and with plenty
of places to go, you can bet.
They don't only step out to-
gether, but they work together,
too, their next picture being
"Thoroughbreds Don't Cry."
berg days, the violent disagreements be-
tween star and director about how a scene
should be filmed, the countless delays while
they went over to the side of the set and
argued the point in German.
Hollywood remembered, and marvelled
at the change. For now Hollywood saw a
good-humored star who went through a
scene an indefinite number of times, docile-
ly, until the director was satisfied.
I can vouch for this personally. I was
there during most of the picture.
Marlene intimated, when the picture
started, that she didn't want any interviews.
She didn't say, however, that she wouldn't
give one — if someone waited long enough
for her to be in the mood. So I waited.
Hopefully, at the beginning; patiently, at
the middle ; doggedly, near the end. She
gave the interview between the next-to-last
shot and the last.
THIS picture is probably in the lightest
mood of any that Marlene has ever
made. Yet in it, oddly enough, she is not
a light woman. She plays the respected
wife of a high British diplomat. As such,
she has a new dignity, rather than a new
light-heartedness. She is not an enchantress,
but an enchanting woman. There is a dif-
ference.
As the diplomat's wife, she isn't supposed
to be intentionally exotic. She has to be
unintentionally so. But that doesn't mean
that, between scenes, Marlene was joining
the joking and laughter on the set, uncon-
cerned with glamor. She was more con-
cerned than ever before.
Constantly, between "takes," she was
in front of a mirror, studying herself,
looking in her own eyes, smiling at herself,
touching up her make-up or her hair,
making sure of the effect. Whether she de-
served it or not, her incessant mirror-gaz-
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84
MODERN SCREEN
Mr. and Mrs.
Richard Dix at
the tennis
matches. Still a
favorite with
the fans, Mr.
D.'s latest fil-lum
is "It Happened
in Hollywood."
ing gave her a new nickname on the set :
Narcissus Dietrich. ■
The mirror-gazing was so habitual, by
the end of the picture, that even while we
were talking, Marlene watched herself in
a mirror. I saw her profile, mostly a very
alluring profile, but disconcerting, to talk
to.
I asked her if there was any truth to
the rumor that Marlene Dietrich had gone
light-hearted.
Marlene patted a lock of hair, and smiled
to herself. "Is there such a rumor?" she
asked, in faint surprise.
I told her some of the grounds for the
impression. ^
"So?" she asked, pursing her hps. ^ I
do not think it is a rumor that will live
long." She smiled. "I hope not, after these
years of creating the opposite impression."
"You seriously mean that?"
She nodded. "Seriously, and frankly."
"The fact that you are making a comedy,
and apparently enjoying it, indicates no
new Dietrich?"
She patted another lock of hair. "I did
not want to make a comedy, particularly."
"Don't you have story selection on your
pictures ?"'
"Yes. But what I mean to say is, I
wanted to do a picture with Lubitsch. He
has genius. It merely happens that Lubitsch
specializes in comedy."
She turned toward me, with a half-smile,
and asked, "Why do people insist on think-
ing comedy is something new for me? I
have made a comedy before. 'Desire,' have
they forgotten, already?" She returned to
mirror-gazing. "That was more comedy,
really, than this is. That had no delicate
problem of human relationships such as
'Angel' has."
"The fact that you have done two com-
edies isn't a symptom that you want to
do more?"
"Two are enough," she said with smiling
certainty. "If I did any more, people might
actually think I crave comedy, and expect
me to do it. I don't want that."
"What do you want?"
"Drama. I feel more at home in it. It
is what Mr. von Sternberg trained me to
do, and what I have trained myself to do.
It is what I like best. And it is more
memorable than comedy."
"Do you have any definite plans about
your screen future?"
"My next picture will be my last on my
present Paramount contract. I don't know
yet what it will be, but it will be a drama.
There is a rumor that, after that, I shall
do three pictures for Mr. von Sternberg.
The rumor is true. I don't know where
they will be made. Perhaps here, perhaps in
England. Wherever Mr. von Sternberg
says. But that should dispose of all other
rumors about what I am going to do on
the screen for some time to come."
"Oil the screen, perhaps. But, off the
screen, what of these rumors that you are
going light-hearted? Were the English
reporters all wrong? Isn't there anything
to the impression of a new, party-going
Dietrich ?"
"Everyone is gay on vacation," she said,
cryptically. "And I had an unexpected
vacation in England. I had just finished a
long, arduous picture, 'The Garden of
Allah.' I had rushed over to England to
start 'Knight Without Armor.' Robert
Donat was ill. The starting date was post-
poned. I relaxed, for the first time in
months. I went out, for the first time in
months. London was a great temptation, it
was so gay, but the things we like on vaca-
tion are not necessarily the things we do
when we are working."
Che took a cigarette, and as I lighted
^ it, she continued : "It baffles me, this
Hollywood impression that I am developing
into a demon partygoer. Actually, I have
lived a quieter life since my return this
time than ever before. I have gone out less.
The few times I have gone out, the photog-
raphers have happened to be there. People
have seen my picture in the paper, attend-
ing two or three parties. That is the only
explanation I can find."
In the mirror, she watched the glowing
end of her cigarette, and commented, "It is
amusing that anyone should get this party-
going impression of me. One thing I like
about Hollywood is the quiet life I can live
here. There are no distractions. It is pos-
sible to sleep eight hours a night. It is pos-
sible to concentrate on work.
"I haven't changed, going to England,
and returning, and making a comedy with
Lubitsch. I'm afraid it would take more
than that to change me, at this stage of my
career."
I asked, "Do rumors about yourself
affect you in any way today?"
"I ignore most of them. What good
would it do me to be annoyed ? That would
not stop them. They are part of the game.
You have to put up with them. They go
MODERN SCREEN
on and on, as long as you are worth men-
tioning. The only rumor that really annoys
me is the one that I encourage the rumors."
A smile appeared in the mirror.
"Mae West and I were in her dressing-
room one time, laughing at the story in a
newspaper that she and I were having a
feud. I said, 'How did such a story ever
start?' And Mae said, 'Some poor press-
agent was stuck for a story. He had to
get something in print to show his boss.
So he invented this one. That's how many
a story starts.'
"And I know it is so. The publicity
department comes out to the set and says,
'Please give us a story, Miss Dietrich.'
When I have legitimate news, like word .
of Mr. Sieber's coming, I give it to them.
Usually, I have nothing. They go back
empty-handed. To get my name in print,
they seem to think it is necessary, they
make up some little story.
"I don't understand why they take the
trouble. The important thing is what people
think of me on the screen. What they read
about me in newspapers is not important."
"You sincerely believe that?"
"If I didn't, I might make up the little
stories myself."
Remembering the debt that Marlene
owed to publicity in her development as a
star, I made a mental note: Here is one
thing, at least, that Marlene seems to have
gone light-hearted about. Publicity.
Light-heartedly, too, she told me her
squelching answer to the newest divorce
rumors. "My husband is arriving next
week. I am going to Europe with him for
a holiday, and putting Maria in a school in
Switzerland."
"Are you following through on your in-
tention of becoming an American citizen?"
"The future will decide. If my future is
here, yes."
"How do you reconcile your tentative
plans to become an American, and your
sending your daughter to school in Switzer-
land?"
"It is a French school. I want her to
learn French while she is still young. It
will be much easier for her. And she is
old enough now so that she will not forget
how to speak English."
"You are sending her, even though it
means separation?"
For a moment, her face was shadowed.
For a moment, I glimpsed Marlene Diet-
rich, the mother, not the glamorous star.
"Yes," she answered, almost inaudibly. "I
must think of Maria. Not myself."
Just then, Lubitsch called Marlene back
to the set.
Her last words to me had not been light-
hearted. Far from it. All through the
short interview, in fact, she had tried to
perish the thought that the rumor of a new
Dietrich might be true. Yet, as I watched
the "take," the thought would not perish.
One word in the dialogue was difficult
for her. She struggled, first, to pronounce
it in flawless English. Then she struggled
to give the same word the nuance of in-
tonation that Lubitsch wanted. They went
through the scene once, twice, five times.
Then they tried it again.
And Marlene did not "blow up." She
did not become impatient with the English
language, Lubitsch or herself. She was
blithe about it all.
The picture had been shooting for weeks.
Here it was at the very end, and they
couldn't seem to get this last scene on film.
Everyone's nerves were fraying. Every-
one's but Marlene's. In this moment when
no one else was light-hearted, Marlene
was smiling.
But if she is light-hearted, if she is a
new Dietrich, she is not the one to reveal
it. Or explain why.
I think she still believes what she used
to believe. Keep Them Guessing.
n lOmPlETE BOOK-UnCTH nouEi
Edward G. Robinson as the re-
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and Rose Stradner as his ap-
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story of gangdom at its cruei-
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violence!
Also in This Issue —
A Damsel in Distress — starring
Fred Astaire
I'll Take Romance — starring
Grace Moore
A Young Man's Fancy — star-
ring Alice Faye
Second Honeymoon — starring
Loretta Young
16 STORIES or SCREEll HITS in THE
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85
MODERN SCREEN
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Buoyant Battler
(Continued from page 44)
from the beginning and he plays her like
a fish!"
Even his current teaming with Claudette
Colbert, in "Tovarich," cannot possibly
stifle his craving for the prize part of the
season. "They haven't even asked me to
take a test for it," he admitted. "But I'm
explaining to everyone — over the radio,
too, whenever I have the chance — that I
feel I could do a good job of it!"
Although it looks as though he must
have been to his sweeping manner born,
he originally had — he confesses honestly —
neither a pittance of poise nor any punch.
You can't be magnificently mellow until
you have risen to that brave point where
you take the world by the tail and swing
people and circumstances into the niches
you select. Basil had to study the trick.
He wasn't a natural sophisticate.
Moreover, he hasn't had it easy. For
months he's been after Rhett — but then
he's always had to campaign deliberately
for what he's wanted. "No plums have
ever fallen into my lap," he said to me.
And then, facilely switching from so
dramatic a way of putting it into sheer
simplicity, he was specifically astonishing.
He was born in Johannesburg, South
Africa. His English parents had gone
there because his mining engineer father
thought that where there were diamonds
there should be wealth. At the tender age
of four, Basil, accompanied by a new
brother and sister, settled with his parents
back in a London suburb. He was duly
sent to a private school.
"My childhood memory focuses around
the cuckoo clock in my grandfather's
home. I used to lie awake and listen to
it make the lustiest row. I never had any
doubts as to what I wished to become. I
wanted to be an actor. That was an
amazing, one might say, a ridiculous idea
to my family. The Rathbones were solid
old British stock. They were business
folk, living quietly and comfortably as the
backbone of the country should. They
were well oi¥. Rathbone Brothers of
Liverpool dealt in cotton. They had ship-
ping interests. Everyone hoped I'd behave
myself.
"But I was determined to become an
actor, somehow. I began to realize that
there were, after all, a few Rathbones
who weren't mentioned much. There was
my uncle who was the sculptor and who
had invested his income in a little factory
where he turned out hand-made, hand-
painted Delia Robia pottery. There was
another uncle who devoted himself to the
making of superb tapestries, an appalling
end for a legacy. My own father, I ob-
served cautiously, had taken his inheritance
and gone valiantly into business and to no
avail. Father had a flair for writing and
for the theatre, but he had suppressed
himself. He was artistic through and
through and he tackled the traditional
business destiny with wretched results.
"I stumbled upon the fact that Grand-
father Rathbone, who'd been a rich pillar
of Liverpool, had dabbled in poetry on
the side and had even had a volume of his
poems published. Further, he entertained
Henry Irving and Ellen Terry, the famous
acting couple, in his home. He had dis-
tinguished himself as being the only man
who'd ever gone to sleep while the silvery-
voiced Henry Irving was speaking directly
to him. A rocking-chair was too ir-
resistible to him on that noted evening!
"And my grandfather on my mother's
side — he'd had tuberculosis and retired to
South Africa to die at a modest time of
life. But there, he'd not only survived
splendidly until he was a ripe seventy, but
he blossomed as a new nation's foremost
water-color painter. Whenever I was
worried as to how I'd dare break over the
traces I recalled these indisputable truths.
TN school I was perpetually dreaming of
the theatre. I wrote scads of plays.
They were wild melos. And of no earthly
use so far as classes went. Finally I did
shine brightly for one week. Instead of
'that boy' I was It momentarily. We had
to write an essay on 'The Merchant of
Venice' and that was a complete snap for
me. I turned in a triumph entitled, 'Was
Shylock the Hero of a Tragedy or the
Villain of a Comedy?' My profundity was
a sensation.
"My problem in school, you see, was a
peculiar one. It was to be not too clever.
I couldn't risk being promoted. The head
of the form above mine had no sympathy
with athletics and I had to see that I didn t
know too much or I'd be promoted to him
and then I'd never have fun. I was seven-
teen when I received that letter from my
father saying there wouldn't be enough
money for me to return in the fall. I was
heartbroken, because that next year I
would have won my colors in football and
cricket and a pair of tall silver candle-
sticks if I'd won — as I think I could have
— the half-mile in the track events."
He had to come home and show signs
of becoming a respectable business man.
"In England," mused Basil, "there are no
little wise-crackers. You're still a child
until you're out of your 'teens. 'What'll
we do with him?' debated the family. I
had an uncle who was president of an
insurance company, so I was stuck in his
London office to work up.
"How I solaced myself with the rebel-
lious thought • that somehow I'd escape
such a dull fate ! I licked stamps until
my tongue felt like the bottom af a par-
rot's cage. It should be," he smiled, "a
pleasure to send out office mail now that
the personal touch isn't obligatory. I was
promoted to the telephone board and nearly
escaped then and there. The manager had
no sense of humor. The name of the
illustrious firm was The Liverpool, Lon-
don and Globe Insurance Company. I got
the London out first in a few instances.
The manager was horrified.
" 'My good young man,' he informed me,
'although your family has an important
place in this business, you have made a
grave error several times. It must be
stopped.'
"I did all my 'learning' during my
luncheon hour, in a vacant office I'd dis-
covered on the floor above. There I was
hidden away and I could 'practice' with-
out interruption. I learned, and precisely
what it was going to get me I didn't know,
some sixty long poems, ranging from
Browning and Shelley through Byron. I
taught myself a repertoire of Shakespeare.
Not that I had nerve enough to let a soul
in on these secret lessons !
"I'm remembering the stunt my brother
pulled on the staid business men of Lon-
don ! Every morning I came into the city,
arriving at Victoria Station with thou-
sands of other men who timed themselves
by glancing up Victoria Street to the huge
clock on Westminster Abbey. That gesture
reassured you as you hurried to your bus.
86
MODERN SCREEN
It so happened one morning that everyone
was frantically late, an entire hour late.
There was a panting rush to offices. And
all because late the night before my
brother and another lad, students at West-
minster School, had the inspiration of
inspirations. They'd crawled perdously
along balustrades and climbed up ledges
and advanced the hand of that clock!
"One morning I decided to challenge the
Gods. I resigned. I knew that within
another year or so they intended to make
me a branch manager at $2500. a year.
But I'd sat at a desk and added forty or
fifty pages of figures, hunting for an
elusive ha'pence, and I'd kept promising
myself that I'd get out of there before I
was sunk. I went from the office straight
to see Sir Frank Benson, a cousin who
had perhaps England's most extraordinary
theatrical company. He trouped in Shake-
speare and had three different units.
Beginners often paid to learn acting from
him.
"When he asked me what I could do I
stood up and went through one of Shy-
lock's main scenes, giving a pertinent voice
to each character, and presenting the whole
thing with gusto. I couldn't do as well
now, I'm afraid. But then, at last before
someone of the theatre, I hadn't a trace
of fear; I knew I was good. He asked if
my father would consent to my trying to
act and I lied furiously; I knew father
couldn't stop me. Sir Frank was always
afraid I'd coast because I was a relative,
so invariably he made things harder for
me.
" 'Certain men can look at horseflesh
and say "I believe this is going to be a
winner," he stated solemnly when I'd
finished my stunt. T think you ought to
make an interesting actor. But it's up to
you. I'll put you in the Number Two
company and you can do two roles a night
and there'll be ten plays in the repertoire.
Your salary will be one pound a week.'
YES, my parents were worried," Basil
confessed. "I was only nineteen, they'd
gotten me a job with a sound future.
Actor? I was plunging into an un-
charted field. Into something where there
was no guarantee. Besides, at nineteen
everyone presumes he can act. I knew ^ I
would succeed, but no one else knew it.
Everyone warned me of my foolishness,
but I had that stupendous confidence of
youth.''
For fifteen months he toured, ecstatically
doing bits, living on his $4.85 a week. "I
was so one-track that it would really have
been difficult for me to have failed." Basil,
who is so cosmopolitan, so enthusiastic on
every subject, a one-track mind?
"I wanted to get away from people, to
live in a dream world of my own and shut
out reality. I dreaded frankness and
friendships. Fortunately that was the peak
of the English theatre then. The theatre
was glamorous beyond words. All the
great actors had their own theatres and
starred in them for years. You became
tops and you stayed in your nice shell.
Now an actor isn t sure of his reputation
beyond his last play or picture ! I didn't
have to come out of my dreams. I didn't
have to be practical, as I do now. I viewed
everything in terms of the theatre. When
I had the flu I contentedly read more
plays. I couldn't discuss anything else
but backstage ; I never spoke except about
theatrical technique."
So no wonder he was promoted to
Benson's Number One company. At twenty
he was touring the United States in
Shakespeare, enacting second leads and
earning $35. a week. "I managed to save
out of that, too. Although I can't forget
El Paso because we crossed the border to
look at Juarez and we met a gentleman
who showed us the bull-ring and led us
into gambling away most of our savings !
"We economized by four of us young
fellows taking one hotel room with two
double beds. We ate at cafeterias and it
was such fun gazing at all the food in
sight before choosing what would be most
filling." Basil, whose dinner parties are
events in Hollywood, grinned like a college
lad. . .
The troupe moved from city to city m
two cars of its own. "Two day coaches
in which we economically sat up nights.
We'd buy cans of Sterno and take turns
cooking our meals whenever we were on
a train."
MRS. BASIL RATHBONE is the
former Ouida Bergere, talented
scenario writer, who abandoned her career
when they married. But Basil, the ideal
husband in Hollywood apparently, was
married once before. He wasn't quite so
one-track as he described himself, for the
girl who played opposite him was evi-
dently too attractive to be ignored. He
hasn't wholly altered; at least he could be
impetuous then.
He was twenty-one and he'd made no
acquaintances outside of the troupe. But
what did that matter? A lot of marrying
was going on in the company. It was
spring and he had a sweetheart! As soon
as the American tour was over there was
a London ceremony and two were to be
one forever after. They honeymooned at
Stratford-On-Avon, acting Shakespeare
at the famed summer festival.
But two months after, the World War
burst upon them. For four years Basil
was away at the Front. He won, I have
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found out elsewhere, a lieutenancy and a
military cross. He can cut with a mere
word, on the screen ; in person he doesn't
boast.
The cool cynicism he can display belies
his real seli. Actually, he is an absolute
romantic. He has a command to his vigor,
and yet love to him must be spiritual, or
it isn't the real thing.
There were hasty trips to a small
London apartment, week-ends when he got
away from the cannons of the war. Grad-
ually, though, there just was no more
bloom to that union.
"When I was demobilized life suddenly
had no purpose," he said. "I was so young
that the War, in spite of its horrors, had
been a tremendous adventure. But no
destroyers escorted us back across the
channel. We'd felt used to them, as though
they were for our very own benefit. The
camp looked shoddy ; officers no longer
meant anything at all. And London — !
I found my mother dead, that my brother
had been killed in the fighting. There was
no money left. Nor," he added softly,
"was there anything left to what I'd
imagined was the passion of my life.
"The theatre? Make-up and rehearsals
seemed so blah right then. Yet I had to
work and all I knew was the Benson com-
panies. I heard the Stratford festival was
being reorganized. I went after a part."
Constance Collier, who starred in "Peter
Ibbetson" on Broadway, saw him. She
was seeking a leading man for her London
production, someone who could equal John
Barrymore's interpretation in America.
She saw Basil and knew he was the one.
And, at twenty-five, unfamiliar to the
critical audiences of London, he was an
overnight hit.
"That first night," he exclaimed, "will
never leave me. All the fine men of the
theatre, the actors whom I'd worshipped
from a distance, were there. And they
walked up on the stage to congratulate
me ! Forbes Robertson, whose 'Hamlet'
I'd seen four times. Sir John Hare and
all the rest!"
STILL, it wasn't success that finally
brought him out of his shell. "I never
went out socially after that night. I was
as solitary as ever. Eventually, when
people insisted that I mix I did try it. But
everything I did was wrong when I at-
tempted to be a gay fellow. I was a little
too exuberant. I laughed and joked too
noisily. I was putting on an act. Of course,
I really had no consideration for the view-
point of others. I wasn't interested in the
world in general. Expanding was a sad
debacle !"
So it was until Quida came along. He
went from one stage success to another,
but his inner life was unfulfilled until he
met her. He was starring on Broadway.
She was giving one of her gala parties and
he was inveigled into attending. She was
giving one of her gala week-ends at her
country home soon after and he didn't have
to be asked twice. After that week-end
he knew he was in love.
For three years he courted her. They
had a most romantic wedding in a Park
Avenue apartment. A candle-lit, flower-
decked altar where they took vows that
have proved far more than idle protesta-
tions.
"If I've changed," said Basil, offering
me a cocktail and a cigarette, "and learned
how to enjoy people and places and every-
thing that goes on about us today, it's
because of Ouida. She is so vital, so
sophisticated in every sense of the word,
that I couldn't lag behind. I have some
pride, you know ! Her appreciation of
fine music, of the theatre, of art was one
of our first bonds. But it is her relish
for exacting the most from every waking
moment that enchants me, I suppose."
With Ouida beside him he has become a
foremost Hollywood figure, personally
and professionally.
"I don't want romantic leads, as some
interviewers have persistently reported. I
want variety. I don't mind being a bad
man in pictures, although I do object to
having to be a bloodless, inhuman sort.
I believe" — and he cocked an eyebrow at
me — "that I could play Rhett Butler as he
ought to be played. From here." His in-
dex finger retouched his black, black hair.
"I rather know how he became the man
he is. He learned that you have to come
out of your dreams to get ahead in this
practical, modern age. He clung secretly
to his romantic ideals. You see, he — "
But we were right where we'd started.
Love has made Basil Rathbone a happy,
buoyant battler.
88
MODERN SCREEN
Singing Stoic
(Continued from page 31)
tender age, a combination of an embryo
Rockefeller and a Caruso, he rode his bike
instead of the trolley, saved his car tickets,
cashed them in and thus added to his
savings. Every cent he made, except what
was absolutely necessary for shoes and
shirts, he deposited himself in the People's
Dime and Savings Bank. He told me, "I
gloated over that little book like a hoard-
ing miser or a Praying Mantis. I became
a good mathematician so there could be
no way of chiseling me out of a copper."
THE summer he was fifteen he got a
job as chauffeur to a wealthy Scranton
widow. His employer had been cook to
a very wealthy man who had married her,
died and left her his fortune. And with the
crop of petty cruelties and snobberies in-
digenous to such soil, the lady belabored
the lad at the wheel. He bore it as long
as he could for the sake of the twenty
dollars a week there was in it.
The following summer he went to Asbury
Park. He sang at the Belmar Church for
twenty dollars the Sunday. He got a job
at Freihofer's Bakery, working from ten
p. m. to six a. m. He said, "I was a helper
to a giant buck Negro. One night he and
I got into a terrific fight. We were both
fired. I didn't mind so much because,
though I'd lost a job, I had proved my
strength. I didn't get too much the worst
of it. I believed then what I believe now,
that a good physique and singing should
go together. And they do, nowadays.
Nelson Eddy, Lawrence Tibbett, John
Boles, Richard Bonelli, all of them are
fine figures of men.
After the fight with the negro, Allan got
a job driving a laundry truck. He de-
livered hampers of wet wash to walk-up
hotels. Walk-up hotels have mainy and
steep flights. And have you ever toted
wet wash?
He got a job chauffeuring for a wealthy
family from New York. They became
good friends, Allan and his employers.
And he met, in Asbury, his first romance.
One of those early, youthful romances it
was, with the moon, the sea, the stars, the
nostalgic weight of young dreams acting
as agencies for Cupid.
"I'd never had time to go around with
girls at home," Allan told me, "much as
I would have liked to. In all the years in
Scranton I never had one 'steady' girl
friend, no romances, not even a friendship
with a girl worth the mentioning. I had
neither the time, the money, nor the clothes.
Occasionally I'd ask some girl to go to a
movie with me, have a soda at the drug-
store afterwards. That was the full extent
of my social life, my dissipations."
A good, folksy home life, the background
of young Don Diego Jones. His memories
are of the bread that Mother used to
bake, fresh vegetables from their own
garden, pickling and jam-making and grace
at table, his Welsh grandmother who told
him tales of his Welsh forebears. Strong,
plain food, the Golden Rule, an honest
wage honestly earned, this was the "easy
does it" of Hollywood's rising star.
At the end of his summer in Asbury he
went back to high school. He played two
weeks of football, first chance he'd had,
and iDroke his right wrist. He kept on
making money. He had the bleacher con-
cession and made a good thing of it. He
managed the cafeteria in high school.
Came summer again and he worked with
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89
MODERN SCREEN
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shindig.
the steel girder gang in the mines. One
day he took a bad spill from a soaring
girder and smashed the wrist already
broken once, splintering the bone to
powder. The bone was removed and a
silver plate inserted. Now, Allan can't
bend that wrist backwards. And on damp
days it causes him some pain.
WHEN he was a senior in high he
got a job driving coal trucks. He
worked for a man who amassed a quarter
of a million during the coal strike by col-
lecting waste materials, processing them,
selling them. The man on the shovel, a
mature Hercules, earning seventy-five dol-
lars a week, broke his leg. Allan asked
for the job and got it. He was eighteen.
By the end of the first week he was load-
ing twenty-one cars of sixty tons each.
At the end of three months the strike
ended and the job with it. But that
seventy-five dollars a week had sub-
stantially augmented the little pile in the
Dime Bank. Easy did it.
Allan went into the mines of which his
father was foreman. He got fifty-eight
cents an hour and, to increase the ante,
worked double shift, sixteen hours a day.
The gang of nine men under him, Poles
and Italians, were tough customers. It
was occasionally necessary to knock some
ambition into their hot heads. And not
by words.
When Allan was eighteen he had fifteen
hundred dollars put away. Fifteen hundred
dollars which represented the years of his
boyhood. He had, too, sufficient credits to
enter Syracuse. And so, one day, he
packed his two suits, pants presser, shirts,
collars, socks, parental blessings and his
ambition in the family rucksack and took
off on the first lap of his journey to
Hollywood. He remained at Syracuse for
three months. Then came a wire from
New York. It was from LeRoy Eltring-
ham, formerly curate of St. Luke's in
Scranton. The man who had, from the
start, taken a warm interest in the sturdy,
self-reliant boy. The wire said, "Come to
New York right away. This is the place
for you."
Allan went to New York. LeRoy
Eltringham took him the rounds of the
city's finest voice teachers. Three of them,
apprised of the fact that funds were
scanty, regretted that they could do noth-
ing for him. The fourth, Claude Warford,
heard him sing "The Valley" from "The
Messiah" and offered to give him three
lessons a week, free. Through the further
offices of Mr. Eltringham he got a scholar-
ship at N. Y. U. in exchange for singing
in the Glee Club. He was soloist with a
quartette in the Washington Heights
Presbyterian Church. When he found that
he couldn't do justice to the college cur-
riculum and his voice lessons, too, he was
made a special student, taking only lan-
guages, French, German, Italian.
In the summer, Claude Warford took
such pupils as could afford it to his sum-
mer school in Paris. Allan couldn't afford
it. But he had to go. He sat down and
wrote to his Dad. He asked what about
the possibilities of giving an Allan Jones
concert in Scranton? Daniel Jones wrote
back, "I have two thousand men working
for me, son. They'll buy tickets, or else."
From that one concert Allan netted
eleven hundred dollars. He sailed for
Europe with Mr. Warford and his fellow
students.
Allan studied in Paris. He coached with
Reynaldo Hahn, famous French conductor
and composer at the Opera Mise en Scene,
with Felix Le Roux of the National Opera
of Paris. In the fall he returned to New
York and to his first big professional en-
gagement, as soloist with Anna Case with
the New York Philharmonic. For two
succeeding summers he commuted to Paris.
He studied oratorio in London with Sir
Henry Wood. He sang at Deauville. He
would return to America and do concerts
all over the country, at one hundred to
one hundred and fifty dollars the concert
He did radio shorts.
In 1929 came the crash. In more ways
than one. Allan's good friend, LeRoy
Eltringham, dropped dead of a heart at-
tack. Allan lost most of his hard-earned
money. Concert business was bad. And
he did a little near-starving for months.
He said, "Well, borrowing money anyway.
That's a kind of hunger that's also shame
and worse than body hunger." Then
Charlie Wagner put on "Boccaccio," for-
merly sung by Jeritza at the Met. Allan's
salary was five hundred dollars a week.
It was an artistic triumph but a com-
mercial failure.
Allan signed with the Shuberts. He
played in St. Louis, a new show every
week. "The Student Prince," "Floradora,"
"Sari," the repertoire of light opera. He
barnstormed. He did one-night stands.
At the end of the third year Allan
opened in "Annina" with Jeritza. He also
played the name part in "The Life of
Stephen Foster." And it was while he
was singing in "Annina" that the mills of
the gods speeded up their grinding. For
Bill Grady and one or two other officials
of the Metro-Goldwyn-Mayer studio heard
him and saw him. Arthur Lyons was
.A.llan's agent. There was a get-together
and a test. Louis B. Mayer wired from
Hollywood. "Sign Jones to long-term
contract immediately." Allan signed. There
was a rider to the contract. He had, first,
MODERN SCREEN
to get free of his Shubert contract, with
two years to go. There were threats of
blackball. There was considerable mental
anguish for Allan and, in the end, it cost
him twenty thousand dollars to be free
for the movies.
He arrived in Hollywood at seven-thirty
one morning. No flags were raised. At
ten a. m. he was on the set, met Jean
Harlow, and sang his song for "Reckless."
"What a swell kid she was," Allan said.
"She was the first one in Hollywood to
give me the glad hand, wish me well,
prophesy that I'd go places. I'd give more
than an awful lot if she could have been
at the premiere of 'Firefly.'
"Well, then, I made 'Night At The
Opera' with the merry Marxes, 'Showboat'
for Universal, did a bit, a song, in 'Rose
Marie.' And the sound track for 'A
Pretty Girl Is Like A Melody' in 'The
Great Ziegfeld.' Hunt Stromberg had
asked me to do that for him, that and the
song in 'Rose Marie.' He told me that if
I'd be a good sport and help him out he
would eventually find a role for me that
would put me on the centre of the movie
map. I tried not to expect too much. You
learn, in show business, that illusions wear
pretty thin, promises are cheap coins, easily
spent.
"But Stromberg didn't forget. He more
than made good his promise. I couldn't
have failed in 'Firefly' if I tried. Not with
Stromberg producing, Leonard directing
and Jeanette singing. Jeanette singing, it
would be the ambition of any male singer
to appear opposite her. And believe me,
ma'am, it was sure mine! And when you
consider how my role might have been
subordinated to hers you can guess how
much I really owe her. She gave me
every break, and then some. The songs
were equally divided between us. If any-
thing, I got the better of the division with
the 'Donkey's Serenade' and the 'Giannina
Mia.' Hear about the wire she sent me
the night of the premiere? It just said,
'Congratulations on YOUR big night.'-
Jeanette and Gene and Irene and I had
been close friends long before we did
'Firefly.' I thought she was swell then.
But there had been no test of friendship
at that time. Now there has been and I
know how swell she is."
I FIRST saw Irene," Don Diego Jones
told me then, his cold gray eyes warm,
"when she was playing the lead in 'Ladies'
Money,' a studio play given at the Holly-
wood Music Box. I went to the play with
Betty Furness. I kept watching Irene. I
asked about her. Betty laughed and said,
'Better not waste time thinking about her,
my friend, her time is all taken up !' I
said, 'Oh, yeah. Bob Taylor.' I remembered
I'd heard they were going together.^ Later
I learned that Irene had seen me in 'Night
At The Opera' and had asked about me.
"One day I was walking down the lot
right in back of her. She didn't see me.
She was humming 'Alone,' my song in
'Night At The Opera.' I passed her and
looked back. We both laughed. I knew
that I was in love with her then. But
there were obstacles. Among them, Irene
was going with Bob.
"We kept on meeting at parties. Betty
Furness gave one that Christmas. Irene
was there with Bob. Then there was a
party at Arthur Lyons'. Again Irene was
with Bob. She sat between us and I man-
aged to monopolize her attention for an
hour. So much was gained." (Easy didn't
exactly do it, even in love. Imagine falling
in love with the girl who was going with
Robert Taylor 1)
"Then Raoul Walsh gave a party. Bob
was out of town. Irene came with Cesar
Romero. I took Betty. Betty is a wise
girl. She saw the way things were gomg.
She asked me how I'd like to take Irene
home instead of her. I didn't need to
answer that. And Betty, laughing, went
to Cesar and said, 'Say, Butch, they've
changed the script on us, you are taking
me home.'
"Yep, from my first sight of her I knew
that it had to be. We were like magnets,
one to the other. And if we don't live
happily ever after it won't be through any
conscious fault of mine. When, all
obstacles ironed out, we were married on
July 26th, 1936, and I said T do,' I meant
it with all my heart. We're so happy, in
every way, that I should get out the old
rabbit's foot and look at the moon over
my right shoulder. Everything seems to
be easy doing it, now. Dad' and my mother
were out here this summer. They got a
big kick out of watching me work in
'Firefly.' Jeanette invited them to her wed-
ding and, boy, they have enough to tell
the home folks to keep 'em going until
our Golden Wedding! Dad feels that the
career he never had has come true in me.
"I'm crazy about Irene's little girl. And
soon we'll be crazy again about one of our
own. I'm not sure what I'll do next on
the screen. It may be 'The Red Mill' with
Delia Lind, the Viennese singing find. I
can leave all that to Hunt. He gave me
my illusions back, not a tatter in 'em.
"I'm happy," said Allan, his earnestness
good to see. "It's been hard work but I'd
do it all over again, work treble shift for
the gifts the gods have given me."
Easy , does it? What do you think?
YOUR EYES are the key to your
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of your own leading man!
^RICHARD HUDNUT
Paris
London
New York
Toronto
Buenos Aires
Berlin
COPYRIGHT 1937, BY RICHARD HUDNUT
91
MODERN SCREEN
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Between You 'n' Me
(Continued from page 67)
$1.00 Prize Letter
What, No Love Interest?
Can you imagine? It wasn't until three
complete hours had elapsed since I had
seen the picture, that the whole truth really
dawned on me. Yes, I'm talking about
little Deanna Durbin's triumph. I saw
"One Hundred Men and a Girl," came
home, raved about it, and suddenly realized
that the picture had managed to escape
without something that almost every pic-
ture is lost without. There was no love
interest ! Deanna was, thank Heavens, not
a cute little go-between for a couple of
idiots madly in love ; in fact, far from be-
ing the go-between for anybody, I should
say that she was the "go." Let's have
more pictures of this calibre, and espe-
cially, let's have more of Deanna. — Thelma
Greenberg, Washington, D. C.
$1.00 Prize Letter
Pent-up Indignation
This is written especially in reply to a
certain Texas lassie who bent over back-
wards to say insulting things about Bar-
bara Stanwyck in your August issue.
We're all entitled to our favorites, but
when I resort to airing my feelings on the
printed page, I sincerely hope I have in-
telligence enough not to confuse construc-
tive criticism with ''just being plain catty."
Of course, there are those who never
see good in anyone and to them perhaps
the forthright honesty and loyalty that are
reflected in those lovely eyes of Miss Stan-
wyck's go to make her face appear
"plain" But to those of us who can appre-
ciate sincerity in all its worthiness and
know Barbara for the grand person she
is, these things make her beautiful in real-
ity rather than a glamor-coated actress.
I'm willing to wager that all the anti-
Stanwyck grumblers are ardent Bob Tay-
lor fans and therein lies the answer to
these jealous accusations. What do you
think? — Betty June Simpson, Calumet
City, 111.
ROBERT TAYLOR'S KING!
Letters and more letters have been
pouring in from all parts of the coun-
try and from outside the country, too
— all trying to settle the question,
which we raised some months ago.
Who Is King of Feminine Hearts —
Robert Taylor or Tyrone Power? Now,
at last, the votes have been counted
and although Bob leads with 14,567
votes, Ty follows neck-and-neck with
14,359. So, girls and boys, Bob Tay-
lor's King. Long Live the King!
Followers-up in the contest are
Clark Gable, Errol Fiynn and Nelson
Eddy, but every masculine player in
Hollywood, from the romantic leads to
character actors, seems to have plenty
of girls' hearts tucked away in his
pocket.
And now, ask our men readers, how
about giving the boys a chance to
crown a Queen? It's all right with
us, so cast your votes and let's settle
the matter. Who Is Queen of Mas-
culine Hearts?
$1.00 Prize Letter
Wouldn't it be fun if —
Irene Did instead of Dunne,
Cary would Refuse instead of Grant,
Marsha would Seek instead of Hunt
Barbara would Write instead of Read.
And if—
Nelson were a Ripple, not an Eddy,
Fred were a Hall, not Astaire,
Martha were a Beam, not a Raye,
Clark were the Roof, not the Gable
Shirley were a Church, not a Temple,
Franchot were a Sound, not a Tone,
Frances were a Banker, not a Farmer,
Tyrone were Strength, not Power,
Rochelle were the Mississippi, not the
Hudson,
Ronald were an Iceman, not a Colman,
Madeleine were a Song, not a Carroll,
And Jean were a Starter, not a Parker,
But what shall we fans ever do, if Jane
Wilts, instead of Withers.
— Frances Smail, Dorchester, Mass.
STATEMENT OF THE OWNERSHIP. MANAGEMENT. CIRCULATION. ETC.. REQUIRED BY THE
ACTS OF CONGRESS OF AUGUST 24. 1912, AND MARCH 3, 1933
of MODERN SCREEN, published monthly at New York, N. Y., for October 1, 1937.
State of New York U.
County of New York, N. Y. f
Before me, a Notary Public, in and for the State and county aforesaid, personally appeared Helen
Meyer, who, having been duly sworn according to law, deposes and says that she is the Business Manager
of the MODERN SCREEN and that the following is, to the best of her knowledge and belief, a true
statement of the ownership, management, etc., of the aforesaid publication for the date shown in the above
caption, required by the Act of August 24, 1912, as amended by the Act of March 3, 1933, embodied in
section 537, Postal Laws and Regulations, printed on the reverse of this form, to wit:
1. That the names and addresses of the publisher, editor, managing editor, and business managers are:
Publisher George T. Delacorte, Jr., 149 Madison Avenue, New York, N. Y.; Editor, Regina Cannon,
149 Madison Avenue, New York, N. Y.; Managing Editor, None; Business Manager, Helen Meyer, 149
Madison Avenue, New York, N. Y. nt i. , ki ^
2 That the owner is: Dell Publishing Company, Inc., 149 Madison Avenue, New York, N. Y.; George
T. Delacorte, Jr., 149 Madison Avenue, New York, N. Y.; Margarita Delacorte, 149 Madison Avenue,
'^'3*' That the known bondholders, mortgagees, and other security holders owning or holding 1 per cent or
more of total amount of bonds, mortgages, or other securities are: None.
4 That the two paragraphs next above, giving the names of the owners, stockholders, and security
holders if any contain not only the list of stockholders and security holders as they appear upon the
hnnks of the company but also, in cases where the stockholder or security holder appears upon the books
nf the company as trustee or in any other fiduciary relation, the name of the person or corporation for
whom such trustee is acting, is given; also that the said two paragraphs contain statements ernbracing
^m^nt\ full knowledge and belief as to the circumstances and conditions under which stockholders and
^PTuritv holders who do not appear upon the books of the company as trustees, hold stock and securities
ranacitv other than that of a bona fide owner; and this affiant has no reason to believe that any other
_ or corporation has any interest direct or indirect in the said stock, bonds, or other
person, association, • , ,
securities than as so stated by her.
HELEN MEYER, Business Manager.
Sworn to and subscribed before me this 24th day of September, 1937.
ALFREDA R. COLE.
Notary Public, Nassau Co. 1849
Certificate Filed in New York County
N. Y. Co. Clerk's No. 858, Reg. No. 8CS18
Commission Expires March 30, 1938
92
MODERN SCREEN
Can you believe it? It's Jackie
Cooper, practically a young
man now. And very handsome
tool
Personality-
Better Than Beauty
(Continued from page 43)
Harry. But do admit the truth to yourself
and go after what you want with all your
might and main.
THERE is, naturally, a heck of a sight
more than honesty with oneself required
in the development of charm and distinc-
tion—in other words, personality. Next
to the ability to be on the level with your-
self, I'd say, comes the conquering of fear,
self-consciousness, shyness. Then, perhaps,
comes the courage to be a little different
from the herd. All bound around with
these steps in becoming a real person,
there must be the ability to use one s
judgment— a sense of discrimination which
will tell you when, let us say, to dare a
slightly mad make-up, hair-do or hat and
when not to; when to come out loudly
with all the courage of your convictions,
and when to keep mum and let the other
feller do the talking. Also bound around
with this personality development is the
desirability of being the best-looking in-
dividual, physically, that you can possibly
manage to be.
A large order, you say? Im having a
swell time using words and saying noth-
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About overcoming self-consciousness,
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MODERN SCREEN
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the opposite and some of 'em can't even
wear their expensive clothes well. Yet
they've gone places, made money, annexed
doting husbands, and made people like
them. All by using their brains and the
force _ of their personalities. If this per-
sonality-success can come to unattractive
women, it can certainly come to those of
you who are reasonably blessed by nature
with physical loveliness and those of you
who can acquire physical loveliness by a
decent amount of attention to diet, exercise
and simple beauty routines.
Another way of overcoming self -con-
sciousness : have a dress-rehearsal before
you go out into sassiety. Never try any-
thing new on the public. Try it on the
dog first. Try it on your family, your girl
friend, your husband. By that I mean,
don't attempt any innovation in make-up
(particularly) or coiffure just before a
date or a party. Sure as fate, something
will go haywire and when you're out with
all the folks you'll wish to heaven you had
stuck to the good old part in the middle,
or left off the purple eyeshadow. That will
make you think about yourself, you see,
and one of the first rules for personality-
success is forgetting yourself and thinking
about the other guy.
Be pretty sure of a new dress before
you go out, especially if it's a not-too-
expensive dress. Try it on a couple of
times in the bright, cruel light of day.
Look at the seams and the finishings. It
may look pretty nice when you stand up,
straight as a die, holding your stomach in
and your rear flat. But how does it look
when you sit? How does it look when
you walk? If it's cut bias anywhere, it
may shorten embarrassingly when you sit
down. Better see about that. Does the
slip show, or stop short too far above the
hem ?
That hat, now. How does it look from
the back? What does it do to your hair
when you take it off? Take pains — take
time — be a little slow and fuss-budgetty
with details of your personal appearance.
You had better wear the old black dress,
which people always admire, than be in
too much of a hurry to shine in the red
number bought this very afternoon at the
sale.
TF you're reasonably sure and satisfied
about your personal appearance, you've
won half the battle in overcoming self-
consciousness. For the rest, recall what
I said above : forget yourself and think
about the other person. Listen. Ask
questions. Smile. Laugh. Be interested.
( If you follow that rule with men, you're
practically set.) Don't be flustered by
little embarrassments that come up. Take
them coolly and matter-of-factly. With
men, reserve a little of yourself : speak
quietly and slowly, give the impression
that you could say more than you do.
All these tips are good if you're not
particularly sure of yourself. As you gain
poise and assurance, come out a little more
strongly with your opinions and con-
victions. Perhaps — who knows ? — you have
the gift to make people laugh. There's a
stupid old belief that men don't admire a
sense of humor in a girl. Never was a
sillier word spoken. Why, look at Barbara
Stanwyck ! There are many better looking
gals in Hollywood, aren't there? But about
fifty per cent of Barbara's popularity is
due to the fact that she possesses our first
requisite for personality : honesty with
herself — and everybody else, too. And the
other fifty per cent, almost, can be put
down to a quick, dry sense of humor.
Robert Taylor is never bored with Barbara
— and that's one of the chief reasons he
sticks around.
However, to get back to overcoming
self-consciousness, find out what is the
correct thing to do in all social situa-
tions. Don't be a slave to these rules and
regulations, but know about 'em just the
sarne. They're a great help. Have a little
social patter on the tip of your tongue.
It will come in handy when you can't think
of a bloomin' thing to say. And, of course,
I don't need to tell you that the more you
read — books, magazines, newspapers — the
better off you'll be. Learn to play a couple
9r more of the socially popular games, even
if you hate games. If you re not naturally
a good dancer, see if you can't take some
dancing lessons. And if you're at a girls'
school or college, please, please don't fall
into the insidious habit of dancing with
other gals. I did this, much to my sorrow.
During the lunch hour or after dinner,
on would go the croaky old victrola and,
being tall, M. M. did a powerful lot of
leading. It's terrible. Don't you ever do
it, if you never dance a step.
Have you a talent, hidden or otherwise?
I wanta say a thing or two about talents.
These days, I think, one must be pretty
good before one gets up to entertain the
company. There's so much good stuff to
listen to and look at nowadays — on the
radio, at the theatres. By all means, if you
can play or sing or dance, work at your
talent and be ready to please and amuse
folks with your efforts, for this gift will
buy you more popularity than big blue
eyes or naturally blonde hair. But don't
do things sloppily and half way.
When I went to see the latest "Broad-
way Melody," my main urge was for the
sight of Eleanor Powell's dancing feet.
But the hit of the show to me — good
though Miss P. was — turned out to be
little Judy Garland. Why? Goodness
knows, I've heard enough of that general
type of hot singing. But young Judy did
it so well — she put so much umph behind
her songs. Her young voice is powerful
and sure of pitch. It's not a little pipe-
squeak of a voice, blown up by the sound
man into something which it isn't. It's as
natural as Judy herself, with her snapping
black eyes and her wide mouth, which isn't
a bit pretty, but which intrigues you and
makes you like her, just because it isn't
reshaped with lipstick.
p RANGES FARMER, now, is the best
looking girl of the four at the begin-
ning of this article, if you're talking about
classic features and such. But why is
Frances going places, while other pretty
blondes are left behind? In the first place,
pretty blondes are apt to be insipid, and
that's one thing Miss Farmer isn't. In the
second place, Frances doesn't make the
mistake of so many pretty blondes of being
frilly and fussy, with great gobs of the
pretty hair falling to the shoulders and all
over the face. It's a great temptation to
"show off" lovely yellow hair, but it's much
smarter to wear it close.
Another ''different" charm about Frances
Farmer : her voice and manner. She's com-
pletely natural, and her manner is matter-
of-fact and hail-fellow-well-met, without
being in the least horsey or tough. Blondes
are so apt to be (1) statuesque and unap-
proachable or (2) too demure atid fluttery.
While I'm on the subject of being dif-
ferent, let me say just two more things:
good-looking blondes, redheads and bru-
nettes, the striking types, in other words,
will do well to soften their vivid quality on
most occasions. By that, I mean, wear
simple coiffures, only such make-up as
you need to look your best, and simple,
dark or neutral toned clothes. On most
occasions, I say. Why? So that, dears,
you may shine all the more brightly in a
gay gown or a sophisticated hair-do on
rare occasions and so, too, that you won't
tire all that must look at you every day in
I he week.
94
MODERN SCREEN
The other thing I want to say about
being different is this : when you don't
seem to be getting much of anywhere with
your present appearance and present method
of attack upon the world at large, try
some radical change in appearance and
manner. This will take a bit of courage.
But, what have you got to lose? You're
not happy the way things are. If you've
never worn red, and think you can't wear
red, perhaps it would be a swell idea to
buy the reddest dress you can find. Bob
your hair, if it's long. Buy a switch if
it's short. I knew a mousey little person
once who had no claim to beauty particu-
larly, but someone persuaded her to try
some mascara. Lo and behold, though her
lashes were so light that they barely
showed without the make-up, they were
long and silky and a touch of the old
reliable goo made her eyes lovely.
1 THINK American girls and women
are getting better looking every day
and yet most of them still lack something.
I took a motor trip recently and went
through some of the pokiest little towns,
far away from the big cities, and yet, so
many of the girls in these towns looked
chic and smart. They all knew a few
tricks of make-up and hair arrangement.
Nice figures, and pretty faces and eyes
chockful of allure. Yet, there is that
"something" which almost every American
girl lacks, whether she lives in a small town
or a big city — an illusive quality which
even the plainest foreign girl and woman
seems to possess. Take Luise Rainer, who
certainly isn't plain — not with those eyes —
but who is certainly not as physically
luscious as many a cutie in Hollywood or
on Main Street. Now what the heck is it?
I think it's the summation of all the
things I've been trying to tell you about
in this article. Honesty with oneself. No
self-consciousness, because when one knows
how to act and what to do and how to
make the best of one's features, hair and
figure, there's no earthly reason to be
self-conscious. Courage to be yourself and
do, wear and say what you please, instead
of imitating the girl next door.
The sophisticated European woman, too,
has an instinctive knowledge of how to
charm and please men which many of us
must learn by bitter experience. But you
can learn it, and you gotta learn it, if you
want to be really happy, and there's plenty
of competition these days, too. When _ to
flatter a man, when to pique him with in-
difference ; when to turn on a little heat,
when to keep the brute in a cool, dry
place ; when to be all feminine and soft
and when to be a modern frank pal ; when
, to intrigue him by intelligent interest in
the things he's interested in, when to be a
little dumb, in a helpless, pretty sort of
way.
Well, I hope I haven't got you all beau-
tifully bawled up. Maybe I should have
stuck to the good old one-two-three about
taking care of your fingernails, faces and
hair. But I had this on my chest and had
to get it off.
HERE'S a good exercise to flatten the
turn and slim the waist. Stand with
feet ten inches apart, toes turned slightly
in. Hands on hips, and if you dig and
squeeze with those hands while you're do-
ing the exercise, it won't hurt a particle.
Now bend back, very slowly, as far as you
can go without losing your balance. Come
forward by describing a circle with your
upper body — first to the left. Way for-
ward. Now back to an upright position
again. Repeat, describing your circle this
time to the right. Feel your stomach
muscles pull when you bend back. Do
that for twenty minutes every morning —
or as long a time as you can spare — and
see how charmingly flat in front you be-
come by next month.
If your face is feeling a little dry these
snappy days, try this change in your make-
up routine for a while. Buy yourself some
good foundation cream, in a tone a smitch
darker than your skin. Pay a decent price
for it. There are a number on the market,
costmg about a buck and a half per throw,
but they last forever. Use this cream, and
your lipstick and whatever, and no powder.
A lot of the Hollywood beauties do this,
to refresh their skins after the heavy pic-
ture make-up.
Also, I gotta present for yuh. Fill in
coupon below, plizz, and receive sample.
It's a skin cleaner that does wonders for
the smoothness of the pelt. You mix it
up yourself with warm water to a creamy
consistency and apply it to your face and
remove it with a wash cloth wrung out of
warm water. It's completely non-alkaline
in action and especially if your skin is
roughened and dry, it will do wonders for
it. See if I'm not right — and remember,
a good skin never hurt any personality!
Mary Marshall, Modern Screen,
149 Madison Avenue,
New York, N. Y.
Please send sample of Skin Cleanser,
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The Complel-e Story of
A DAMSEL IN DISTRESS
STARRING FRED ASTAIRE
Appears in the December issue
SCREEN ROMANCES
On Sale Now
of
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(Continued from page 108)
irif: Ebb Tide
This is the first sea picture for which
Technicolor has been used, and on that
account alone is worth seeing. The pho-
tographic effects are good throughout,
and in some scenes have exceptional
beauty — in particular a storm at sea and
some South Sea Island shots.
The story is taken from the familiar
one by Robert Louis Stevenson and con-
cerns the adventures of three men who
have brought disgrace upon themselves in
one way or another, and are now adrift
in the world. The men are an old-sea-
captain (Oscar Homolka), a repulsive
cockney derelict (Barry Fitzgerald), and
a young and cultured Englishman (Ray
Milland). The captain gets a chance at
last to take a ship to Australia, and gets
berths for his two cronies. At sea they
decide to chart their course for Peru in-
stead, sell the cargo, and start life anew,
[n the midst of their plottings, the former
captain's daughter (Frances Farmer) sud-
denly appears out of hiding, and demands
that justice be upheld — emphasizing her
statement by shooting the captain. Ex-
citement rides high on the voyage, between
typhoons, drunken sprees of the captain
and steward when the ship drifts aimlessly,
and the fear of starvation when the sup-
plies run out. The climax comes with
the discovery of an island on which is a_
fabulous fortune in pearls, but it is con-
trolled by the ruthless Lloyd Nolan, who
sets about murdering the men so he can
have Frances for his very own.
It's a good story, but gets of¥ to a pain-
fully slow start — even the most exciting
episodes becoming monotonous through be-
ing too long-drawn-out. As we said before,
you'll want to see it for the photography,
hut it could have been much more thrilling,
had more attention been paid to the develop-
ment of the story.
First prize for acting goes to Barry
Fitzgerald, without whom the film would
have fallen completely flat. Oscar Homol-
ka's slow, heavy actions are well suited to
his role, in this one, while Ray Milland
and Frances Farmer are no more than
adequate. Directed by James Hogan. —
Paramount.
Fight for Your Lady
This is Jack Oakie's picture, frorh first
to last. So if an hour of Grade A Oakie
antics suits j'our mood, you won't go wrong
on it. The story centers around the
ridiculous situation of John Boles being
jilted, the first time such a thing has hap-
pened to the handsome Mr. B., at least on
the screen.
He turns to demon rum and Jack Oakie
for consolation, and with such a combina-
tion there's small wonder that he comes
out of the predicament a better and wiser
man.
In Budapest he falls madly in love with
a cabaret entertainer, Ida Lupino, and this
would all be very nice, except for the
fact that Ida has an aristocratic suitor,
Eric Blore, who has the nasty habit of
killing off her extra boy friends by means
of the time-honored duelling system. Eric
has one other weakness besides Ida, how-
ever, he's a push-over for mothers. This
gives rise to one of the really hilarious in-
cidents of the picture.
The climax comes when, just as he is
about to stab Mr. Boles through the heart.
our hero's poor old widowed mother shows
up on the scene and begs for her boy's
life. As the poor old widowed mother,
Jack Oakie never looked better ! Though
Oakie outshines everyone, creditable per-
formances are given by the rest of the
cast, in particular Eric Blore and Margot
Grahame. Miss Lupino and Air. Boles
are adequate in the leads. Directed by
Ben Stolo&.—RKO.
*The Bride Wore Red
Wouldn't it be swell if somebody got a
new story for Joan Crawford? Or per-
haps Aliss Crawford likes the one she's
been using for all these years. She should
be advised, however, that it's getting a
bit_ shabby around the edges. All of
which means that "The Bride Wore Red"
is a dull and routine picture which will
disappoint the Crawford fans and bore the
rest of the audience.
Briefly, the story has Joan as a singer
in a low waterfront dive who gets a
momentary fling at wealth and fine clothes
onl}^ to discover that what she really wants
is happiness, which, as all movie-goers
know, is enjoyed only by the poor.
Miss Crawford's wooden portrayal of
the girl slows the film up considerably.
Several of the supporting players turn in
excellent jobs, but because so much of the
footage is given to the star, their scenes
are much too brief. Franchot Tone, in
the role of a village postmaster, lends
warmth and reality to his part, and Robert
Young, as a slightly decadent young
millionaire, is smooth and efi^ective. Billie
Burke, George Zucco, Lynne Carver,
Reginald Owen and Mary Phillips all de-
serve more than passing mention.
Miss Crawford sings one song, "Who
Wants Love?" which drew no response
from a preview audience. Directed by
Dorothy Arzner. — M-G-M.
■^Sophie Lang Goes West
We regret to say that this. Paramount
picture is just the opposite of the best show
in town. It's another one of those jewel-
swiping tales that you have seen many
times before, only with a different cast.
Gertrude Michael is the feminine lead this
time, and though she's lovely to look at
and probably delightful to know, Gertrude
just doesn't click in celluloid. Though in
all justice we should add that it would
take a Shirley Temple to rise above this
script.
The story concerns a former jewel thief,
Gertrude Michael, who is on her way to
California in order to get her past just as
far behind as possible. En route, she meets
a movie scripter, Lee Bowman, who finds
the lady and her past so intriguing that
he's going to write a screen yarn about it.
It looks like the two will peacefully col-
laborate across the continent, but suddenly
the plot thickens with a bang. A world-
famous diamond is stolen and the heroine
is accused of being in on the dirty work.
From there on, the complications arise so
thick and fast that it would take a Sherlock
Holmes to untangle them, though we doubt
if he'd care. Lee Bowman does the best he
can with the role allotted to him, with his
performance topping the other mediocre
ones. Well, don't say we didn't tell you.
Directed by Charles Riesner. — Paramount.
(Continued on page 104)
96
MODERN SCREEN
That Girl's Here
Again
(Continued from page 18)
from the time they were two. Joan had
only been knee high to a cricket wlien she
gave a reading from "The Tempest.
She was fifteen when, to use her own
quotes, "life really began." And it was
all due to a broken shoulder blade.
Of course she didn't know it was broken
at the time. She had been taking care of
a neighbor's youngsters and they'd been
wrestling on the edge of the swimming
pool when she felt something snap. It
wasn't until the next day that she learned
it was the bone in her shoulder. They
hurried her to a hospital. They took
X-rays. The family physician shook his
head. "She's been a semi-invalid all her
life and it has to be topped with this!
As soon as she can travel, I suggest a long
sea trio and a complete change of scenery.
That's how it was that Joan, under the
surveillance of her father, headed back
for Japan. She had never been separated
from Meg and Ollie before. That last
afternoon they had swung down Market
Street together towards the pier, not caring
whether the whole of San Francisco heard
them singing. They had to sing. It was
either that or tears. And as the ship slipped
away towards Golden Gate, there was
Joan, a wind-whipped little figure clmgmg
to a spar on the top deck.
And from below Joan, a male voice
called, "Hadn't you better come down from
there?" She slid down precipitately, right
into his arms. He was a very presentable
young man, bound for the legation m
Tokio. Even before the typhoon hit them
she was wearing his ring. A gorgeous
blond taking a finishing course at the
American Missionary school was a boon to
that crowd of lonely diplomats. Before
the year was up Joan had been engaged
four times.
And something else took place in Japan.
Somewhere, somehow, the illness that had
haunted her childhood, abruptly vanished.
The Joan who came back to Meg and Ollie
was radiantly alive, well. That summer
the three of them motored to Los Angeles
for a vacation. It was meant to be for
three weeks. It has lasted three years.
Ollie went to work. And Joan decided
to do the same, minus any assistance from
sister or family. That fetish of hers
cropping up again. They had a little place
in north Hollywood near Henry Duffy's.
Mr. Duffy produces stage plays and Joan
wanted to be an actress. She took to walk-
ing past his garden. After a while she
grew bold enough to walk in and up to
his door. He wasn't in the first time. Nor
the second. But the third time the maid
told him, smiling, "That girl's here again."
He asked Joan to read the part of the-
little-girl-next-door in "Call It A Day."
A month later she opened in it at the El
Capitan Theatre, where Jesse L. Lasky saw
her and signed her to a movie contract.
They gave Joan a small part in the
Hepburn picture, "Quahty Street." Then
a larger one in a Class B production. And
then came the lead in the Nino Martini
film, "Music For Madame."
You will see her next in "Damsel
In Distress." Joan Fontaine, who makes
it a law to travel entirely under her
own steam, who is considered one of the
two finest actresses among Hollywood's
younger players. The other is her sister,
Olivia De Havilland.
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so if you like to draw do not hesitate to enter.
Prizes for Five Best Drawings —
FIVE COMPLETE ART COURSES
FREE, Includlns drawing outfits.
(Value of each course, $215.00.)
FREE! Each contestant whose drawing shows
sufficient merit will receive a grading and advice
as to whether he or she has, in our estimation,
artistic talent worth developing.
Nowadays design and color play an important
part in the sale of almost everything. There-
fore the artist, who designs merchandise or il-
lustrates advertising has become a real factor
in modern industry. Machines can never dis-
place him. Many Federal students, both men
and girls who are now commercial designers
or illustrators capable of earning $1000 to
$5000 yearly have been trained by the Fed-
eral Course. Here's a splendid opportunity to
test your talent. Read the rules and send your
drawing to the address below.
RULES
This contest open only to amateurs, 16 years
old or more. Professional commercial artists
and Federal students are not eligible.
1. Make drawing of girl 6V2 inches high, on
paper 7 inches square. Draw only the girl,
no lettering.
2. Use only pencil or pen.
3. We return no drawings.
4. Print your name, address, age, occupation
on l)ack of drawing.
5. All drawings must be received by Novem-
ber 26th, 1937. Prizes will be awarded for
drawings best in proportion and neatness by
Federal Schools Faculty.
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Information Desk
(Continued from page 65)
Mar.v McKinnon, Randolph, Utah. Bette
Davis is twenty-nine years old. No, there
was no romance between Jeanette MacDon-
ald and Nelson Eddy except on the screen !
She's Mrs. Gene Raymond, now, yon know.
Ross Alexander did commit snicide, appar-
ently as the result of brooding over the
earlier snicide of his first wife.
Shirley Barron, Baltimore, Md. You are in-
terested in the movies, aren't you ! Well,
here are your answers. Don Ameche is not
In the least gray at the temples. In fact,
he has almost black hair, so it was powder
which fooled you in that picture. You may
obtain photographs of the stars by writing
to the studios where they work and enclos-
ing twenty-live cents to cover mailing cost.
The skiing scenes In "Thin Ice," were done
by doubles, though Sonja Heinie knows all
about such things I At the present writing,
Ruby Keeler is under contract to RKO-
Radio and not scheduled to make any pic-
tures with Dick Powell. "Gone With The
Wind" has not been cast as yet though
there is talk that Clark Gable will play
Rhett Butler opposite Paulette Goddard as
Scarlett O'Hara. Nelson Eddy's next pic-
ture is "Rosalie," with Eleanor Powell.
C. M. Bennett, Traverse City. Mich. Paul
Lukas will be seen shortly in "Mutiny in
the Mountains," an English production.
Betty Robinson, Ovid, New York. Loretta
Young has three sisters, Polly Ann Young,
Sally Blane, and Georgiana Young. The
first two have been in pictures, but only
Sally Blane is active at the present time.
V. Norbut, Newark, N. J. I wouldn't be too
upset over the rumors that Garbo is
through with pictures. Each time her
contract is about to expire, they crop up
but she still seems to go on making pictures
and probably will continue to do so.
Adelaide Harmon, Warren, Ohio. You can
get a photograph of Don Ameche by writ-
ing to 20th Century-Fox, Hollywood, Calif.
Enclose twenty-five cents to cover the cost
of mailing.
Rose Siriday, Grantwood, N. J. The cast
for "Hollywood Hotel," which has been
selected thus far includes : Dick Powell,
Rosemary and Lola Lane, Glenda Farrell,
Hugh Herbert, Ted Healy, Alan Mowbray,
Frances Langford, Raymond Paige, Ke'n
Niles and Louella Parsons. Milton Berle
can be reached in care of RKO- Radio
Studios, Hollywood, California.
Al.vce Unger, Gloucester, N. J. You certainly
do go for Errol Flynn, don't you ? He is
more than six feet tall and was born in
North Ireland, a direct descendant of
Fletcher Christian who led the famous
Mutiny on the Bounty. Errol Flynn is Ms
real name. He is married to Lili Damita
and It is his first venture. His birthday
is June 20th. You're quite welcome, that's
what we're here for !
Getting the Breaks
(Continued from page 40)
\0t AND ZOt
AT LEADING
And he still can't understand why people
have been so nice to him, why the execu-
tives at Paramount, for instance, took one
look at that face and that long, shambling
figure and signed him to a long-term con-
tract without even going through the for-
mality of a film test. Personally, he's still
trying to figure that all out. That's not
true, either, Gary just doesn't try to figure
anything out ! He just carries on.
I was working in the publicity depart-
ment at Paramount when they placed the
big, gawky guy under contract. From the
very first minute I saw him, I was aware
of that arresting charm of his. I've known
other players who affected me in somewhat
the same way, but in time you get to un-
derstand the difference between the manu-
factured or affected charm and personality
and that which a person really possesses,
and you discover that even those with the
natural personality have to be really "big"
to take on success.
I think I realized from the very first
that Gary would be "big."
During the years I've known him, Gary
has never changed his viewpoint. It's hard
to believe that a chap who has made as
many feminine hearts go pitty-pat (includ-
ing mine) can be so utterly oblivious to
the fact that he has a certain something
that no one else possesses.
Every time Gary has signed a new con-
tract, I'll bet, he's wondered to himself how
long it would be before they'd catch on
to him. He wouldn't have been surprised
to have found himself completely out of
pictures at any minute. And if such a
thing had actually happened, I honestly
don't think it would have bothered him.
He'd just go on, as usual.
There's a little leather shop in Holly-
wood which is owned by a fellow named
Jeff Davis. He's not young, but he's still
tall, thin and a trifle stoop-shouldered from
years spent in the saddle. No one knows
very much about Jeff, even Gary. And
that's pretty surprising considering how
much time Gary spends fussing around
Jeff's little shop, unless you know your
Cooper. Knowing him, I can understand
how he can spend hours in a day chatting
with the ex-cowboy, sometimes figuring
out some new design in leather, sometimes
just spinning yarns, and never asking
Jeff^ anything about his private life. It
would never occur to Gary to pry into any-
one's business unless the information was
volunteered.
Of course, this casualness of Gary's is
a bit maddening at times. There was the
time, when he'd been in ill-health for some
months, when he felt he wanted to go to
Africa. It was a long trip that had been
planned, lazy days of cruising up the Nile,
active moments, chasing big game, in other
words, an extensive vacation. Well, other
people may have worried about the career
he was temporarily forsaking at a moment
when he was not any too well established
on the screen, but it's certain Gary didn't.
I'll wager that the fact he would be off
the screen for some fourteen months didn't
even occur to Gary. He just went to
Africa!
And when he returned to the United
States, he didn't bat an eyelash when he
discovered his financial affairs weren't in
any too healthy a condition. He didn't
even wonder if they had a picture for him
to work in back in Hollywood. He just
came back, in his own unflurried fashion,
and reported at the studio !
"What," you might ask, "has Gary
Cooper gotten out of success?"
Well, Gary wears nice clothes, might
be your first reaction. That's true. Many
of Gary's suits are made from imported
fabrics. But that is part of Gary's busi-
ness as an actor. He must at all times
98
MODERN SCREEN
have an extensive wardrobe.
But if you were to catch Gary in an
off-moment, you'd realize how unimportant
such material things are in Gary's scheme
of living (if he really has one). When
he isn't working, you practically never see
Gary dressed up. Nine times out of ten,
he'll be wearing an old polo shirt and a
pair of mussy trousers with a well-worn
necktie around his waist to keep them in
place. Indeed, one of Gary's favorite
articles of apparel is a cheap pair of seer-
sucker pants which he swiped, mind you,
from the wardrobe department when he
was working in "Now and Forever" a few
years back. He'll probably continue to
wear them until they literally fall off !
And during the filming of "The Plaiiis-
man," when almost everyone on the pic-
ture was requesting special props, unusual
articles of wardrobe which would neces-
sarily be discarded after the picture, what
do you think Gary asked for? In his shy
way, he wondered if Mr. De Mille could
order him a pair of moccasins ! And was
no end grateful when his request was com-
plied with.
While he was appearing in "Wedding
Night," Sam Goldwyn heard that Gary
had become quite attached to an old lum-
ber-jack shirt he wore in the picture. He
had six of them made for Gary as a gift.
Gary was more pleased than if they had
been six million dollars !
And the rest of Gary's living conditions
are in keeping with his simple tastes. He
has a charming but most unpretentious
home in Brentwood, not at all like a movie
star's home. But it satisfies Gary.
Most disillusioning, you might say. Not
a bit like a movie star ! But the whole
world could go hang, as far as Gary
is concerned, if he had to behave like
an actor off the screen. He couldn't be
annoyed !
Thinking over the years I've known
Gary, I'm really amazed when I realize
that his one real luxury, during all his
years of prosperity, has been an expensive
automobile. And if I were to say that
Gary isn't happy because he has enough
money to own a Dusenberg instead of a
Ford, I'd be lying. Because Gary has
been prouder and more pleased with his
swell car than anything he's ever had,
except, maybe, the elaborate saddle Jeff
Davis made up for him a little while back.
However, if circumstances had been such
that Gary could only afford a small, inex-
pensive car, Gary would have been just
as happy, I'll swear. It's just that he had
always, from the time he was a kid, been
crazy about tinkering with automobiles.
And what boy, large or small, wouldn't
rather have a big, expensive car than a
cut-down Ford? I've never heard of one.
"Has Gary's marriage changed him
any?" someone asked me the other day. I
thought of it as I talked with him on the
set of his newest and possibly his most im-
portant picture. And I couldn't help but
admit that it had. It's nothing tangible,
nothing you can put your finger on. It's
just a certain radiance, a look of content-
ment and well-being, a gleam in the eye,
that didn't used to be there. Other than
that, Gary might have been the same boy
I met, years ago, when he was just start-
ing out on a new career.
And Gary has been very grateful to
motion pictures, to fate, to luck, to every
one of those people who have pushed him
up to the top. At the immediate moment,
he feels he is riding the crest of the wave.
A real home, a charming wife, a brand-
new baby daughter, what more can a fel-
low ask?
According to Gary, he's been given all
the breaks !
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99
MODERN SCREEN
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100
Managing Milton
(Continued from page 12)
"Sure he can be in your Chaplin contest,"
Mrs. Berle replied. "How much is there
in it ?"
'"The theatre was in Mt. Vernon and
as far as we knew it might have been
Canada," Milton explained. "It cost us
$3.60 to get there and all we got was a
cup worth $L98, which was first prize.
After that Mom took me around to the
movie companies for work. She would
always find out the day before just what
type kid they wanted and then dress me
accordingly. If they needed Little Lord
Fauntleroy, that was me all over. When
they called for a freshie from the Bronx,
I was just myself.
"In this way I got some work, a little
experience and, before long, into the Flora
Dora kids outfit. I began my vaudeville
career here and, until I reached that gawky
age in my early teens, had some nice
breaks. Not much money, but I worked
steadily. Kids do grow up though and
pretty soon I found myself too big to go
on."
Most child stars retire during the "awk-
ward age," but not our Milton. It was at
this time that Sarah and young Berlenger
embarked for that Land of Promise, the
Philadelphia Grand Opera House. Here
Berlenger became Berle. Sarah decided
that the former name was too long to go
up on the marquee in lights ! "How d'ya
like it?" Milton asks.
"This was my first appearance as a one
man bill, so I was really on my own,"
Milton continued. "I sang songs and told
a few stories and Mom was right there
in the first row laughing up my jokes,
putting me over. After each performance,
she would tell me what I had done wrong
and how to right it. Then, next day she
was right out front doing the same thing
all over again.
"Well, we had something there until
one night a guy comes backstage and
asks if I'm not the same Milton Berlenger
that was with the Flora Dora. Smelling
a job, I came right back with, 'Sure, that's
me.' Gee, was I wrong ! He was an officer
from the Gerry Society and wanted to
know why I wasn't in school. That taught
me to keep my trap shut and let Queenie
do the talking.
"It wasn't until years later, when I
played Loew's State as Master of Cere-
monies, that I got my big break. Mom
was still sitting out front and before each
show would say, 'Be good, Milton, tonight
So-and-So will be out front.' How did
she find out? Search me. I told you she
had eyes in the back of her head!"
TN THE good old days the pinnacle of
success in the profession was to play the
Palace Theatre. Milton hadn't been able
to accomplish this, but it wasn't long after
his debut as M.C. that the opportunity fell
right into his lap.
"A new show was opening at the
Palace," Berle began, "and at the last
minute the M.C. was taken sick. They
were in an awful spot and there was
nothing they could do but get me. I don't
mind telling you I was plenty scared.
Finally I decided to play the underdog,
arouse their sympathy, and get under the
audience's skin quickly. So I'd say, 'Now
I'm going to tell you some jokes, the
same ones that Jack Benny, Bill Fields
and this Cantor guy tell at twice the
salary. They're just as good and just as
funny when I tell them, only I don't get
the money they do. They ride to work in
a big car and I walk, but we all get here
just the same.' Well, this idea got me by
and I stayed for another bill. After that
it was smooth sailing and I landed offers
to play most of the other houses on Broad-
way.
"One day, Richie Craig, a friend of mine,
M.C. too, and I decided it would be good
business to get a phoney feud started for
the newspapers. Richie would wire Win-
chell and say, 'All that Berle guy doesn't
use of my stuff is my pictures for the
lobby display. Put up my photo and I'll
be playing the bill.' Then I'd sit down and
send Sobol a note saying, 'This Craig is
stealing my stuff. It's m)- act, why don't
I get the billing?' The papers got hold of
it and went to town and the joke-stealing
gag was launched. I figured that the notices
would help us both and you can be sure
that they did."
In case you don't know who Richie
Craig is, and you should, he was a clever
comedian. He became wideh" known as
Master of Ceremonies, around the vaude-
ville circuits. Milton has a very interesting
story for you, about his last performance
T HAD been out touring the tank towns
when I got a wire from Richie to cotne
at once. When I arrived in his dressing-
room, he had collapsed and couldn't go on.
I played his bill — of course, using the gag
that since he had all my jokes, why
shouldn't I play the bill ? Well, it went
over with a bang. They loved it. Richie
passed away shortly afterwards without
anyone knowing about our gag. You can
imagine how I feel now that it has grown
so big that it slaps me in the face. No
one will believe we created the joke-
stealing thing for a gag. It's like one of
those Frenkenstein monsters ; it gets so big
it swallows you.
"I really don't mind the kidding, but
when it gets to be accepted as gospel,
then it does get under your skin. That's
probably the reason that, when I finally
got an offer to make a screen test, I did
a scene from 'The Show is On.' Let 'em
see me doing something that docs belong
to another comedian. I was on the road
in the Bert Lahr part and so used the
stockbroker scene, the one you saw in
'New Faces.' The test was good, and I
was signed by another company to do one
picture."
Perhaps the movie moguls were a bit
slow to recognize Milton Berle's possibil-
ities, but they needed onl}- the release of
"New Faces" to convince them they had
another star on their hands. And now
Mr. Berle is slated for big things, the
first of which is to be the leading role in
the screen version of "Room Service,"
one of Broadway's current hits.
And, the cinema capital being as topsy-
turvy as it is today, don't be surprised to
read that Sandra Berle, accompanied by her
son Milton, are off to the races. Her
ambitions can easily be realized in the
City of Make Believe and, knowing Sarah,
we look forward to the time when she'll
come into her own. Good luck, Sandra !
MODERN SCREEN
Laughing the Whole
Thing Ott
(Con tinned from page 29)
steamed in, every whistle blowing, em-
blazoned with banners that shouted:
"Welcome Joan and Diek." Airplanes
zoomed overhead, letting down streamers
that flapped: "Welcome Joan and Dick."
The reporters let out a wild Indian whoop.
With one impulse Joan and Dick fled froni
the scene.
The papers carried the story to give the
impression that two movie stars had hired
a reception committee to welcome them-
selves to New York. No, they didn't say
It in so many words, but the implication
was there. It made a better story than the
truth, that tugboats and airplanes had been
a well-meaning, if misguided, gesture on
the part of friends, embarrassing no one
more keenly than those it was intended
to honor. And for their pains in giving
the press what it wanted, they had the
pleasure of reading such gems as these :
"The bride tittered, and yipped : 'Ain't it
cute?' "The bridegroom blushed, and
tripped over his foot." One has to fill
space somehow.
Dick might have said: "You zvould
come to New York."
Joan might have said: "You didn't try
to stop me."
Perhkps they realized the danger. Dick
stared solemnly for a moment. Then :
"Titter for me. Bride," he commanded.
"Or would you prefer to yipp?"
"No," giggled Joan. "I'd rather take
lessons in tripping over my foot."
Well, that was finished, and now they
could enjoy themselves. Never were two
people more mistaken. The papers had
done their work well. All of New York
knew that Joan Blondell and Dick Powell
had come to town. That alone wouldn't
have wrought the harm. But they kindly
furnished the name of the Powells' hotel.
They played up the "blushing bride and
bridegroom" angle. They hinted that air-
planes and tugboats would seem to indi-
cate that the honeymooners weren't bent
on seclusion.
With the result that stepping outside the
door meant being swooped upon, fighting
their way through crowds. Shopping was
out of the question. Almost any pubhc
appearance was out of the question.
They refused to be downed. Safe be-
hind the doors of their suite, Dick would
say: "This, Mrs. Powell, is the beach at
Waikiki. That sound which you fondly
imagine to be the gurgle of a tap is the
plash of murmuring waves. This thing
that looks like a lampshade is the moon,
and you don't look bad yourself," he burst
into song, "in the light of the mo-o-on at
Waikiki. What'll it be, ham or swiss on
rye?" He'd pick up the phone, order sand-
wiches, and they'd sit munching and cook-
ing up schemes of how they'd sneak out
by the chimney next morning as two
wisps of smoke.
After three days, Dick said : "Let's
leave."
"What about Gloria's play? And oh,
Dick, I do want to wear my pretty
clothes."
That settled it. "We're going to the
theatre tonight, and let anyone try to stop
us," announced young Mr. Powell.
Young Mrs. Powell looked fearful.
"Let's go early, so they won't see us
prancing down the aisle and call us sensa-
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{Continued from page 69)
ing the privilege of -wandering about the
rooms where once only The Silent Lady
walked. Incidentally, Garbo has lived in so
many houses during the past few years that
the "This is where Garbo slept" legends are
beginning to rival the "George Washington
once spent the night here" stories.
■ ■ ■
We dropped in on the "Boy of the
Streets" set the other day to get a look
at Jackie Cooper, who's making his first
picture since "The Devil Is a Sissy." You'd
be surprised at young Mr. Cooper's size.
He's tall and husky, and looks almost ready
to step into a romantic lead. All of which
is hard to believe, when you recall that
only three years ago he was the kid in
"Treasure Island."
■ ■ ■
Mme. Louise Hovick, Gypsy Rose Lee on
the other side of the tracks, recently de-
livered herself of the statement that never
again would she view herself in the movies.
After seeing her debut in "You Can't Have
Everything" she made the momentous deci-
sion. "It was such a shock," she said, "see-
ing myself in such detail. It was like letting
the public pry into my innermost secrets.
The stage," she concluded, "leaves a little
to the imagination, but not the movies." And
we can remember Miss Hovick when she
was the featured attraction at the Irving
Place Burlesque in New York. All she left
to the imagination was her phone number.
■ ■ ■
Questions without Answers: What
young star, recently married, told her
friends a few days before the elopement
that she'd never marry the man in ques-
tion? It was a studio romance, she said,
and that was all. Well, maybe what she
has now is a studio marriage, whatever
that is.
■ ■ ■
Producers are finally waking up to the
amazing popularity of cowboy star Gene
Autry. The requests coming to MODERN
SCREEN'S Information Desk show him lead-
ing the field by a more than comfortable
margin, yet no major studio executive had
ever seen Gene Autry on the screen. How-
ever, the word got to 20th Century-Fox, and
Darryl Zanuck is attempting to buy the
Autry contract from Republic studios.
■ ■ ■
When Warner Baxter and his stand-in,
Frank McGrath, met eight years ago, they
both wore the same size hat. The other
day when Warner showed up on the set
with a new hat, McGrath tried it on. It
rested precariously on the top of his head.
"Hmmm," hmmmed McGrath, "look what
Baxter's success has done to me!"
Joan Davis ("Olga From the Volga" in
"Thin Ice") generally feels just like the
tired end of a double feature bill when her
nightly bedtime arrives. Seems Miss D. has a
four-year-old daughter named Beverly, and
Beverly's hobby is watching mamma go
through all the routines she has just finished
at the studio. So far Joan has lost eight
pounds and her daughter's respect.
Mr. Riskin Goes to Town: 'With a number
of Hollywood hopefuls buzzing Ginger
Rogers' phone number, the inside track
seems to be the private property of Robert
Riskin, the gent who wrote such hits as "It
Happened One Night" and "Mr. Deeds." It's
said that Ginger, like many movie-goers, ad-
mires the Riskin dialogue.
101
MODERN SCREEN
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tion-hunters or something awful. Let's go
right after dinner."
"Let's go before dinner."
"And we won't go out to smoke in the
intermission."
"What can they do to us?" Dick
shrugged.
This is what they did. They tore off
Joan's orchids, they pulled four tails from
her sable cape and kept them as souvenirs,
they all but knocked her down in their
efforts to get to Dick, they all but
smashed Dick's toes to get to her. They
clung to the runningboard of the taxi, so
that Dick had to warn the driver not to
start, lest someone be hurt. While they
were being dislodged, the two inside sat
digging their nails into each other's palms.
Arrived at the theatre, they had to be
spirited out to wait on a chilly fire-escape
till the play started. Joan was protected
by her furs. Dick, clammy with nervous-
ness, caught cold and went to bed that
night with a high fever.
He stayed there for a week. Joan stayed
beside him. This wasn't so funny, but
at least no one bothered them. Once Joan
threw a coat over her shoulders and ran
down to the lobby to have a prescription
filled. She was instantly besieged.
"Where's Dick, where's Dick?"
"Gone away for a week," she ilung back
over her shoulder, and with grim pleasure
envisioned a buzzing chorus of "Hm !
Just married and gone away for a week!"
THEY bade New York goodbye with-
out regrets, and tried to remember
only its lighter moments. Sometimes,
when they hear a whistle blow, Dick will
murmur : "That's us in town again." They
even have Normie, the youngster, doing
it. One day, when he saw the big Zeppelin
that floats 'round Los Angeles advertising
tires, he looked up and asked : "Mommy,
does that say, 'Welcome Joan and Dick?'"
They'd gone through their ordeal by
fire, and come out with their humor un-
scathed. They'd learned it was better to
laugh than rage over what couldn't be
helped. They applied the lesson. If
Joan comes in to find Dick worrying over
a script, she goes promptly into the act
that never fails to leave him grinning. It's
a kind of Ruth Draperian monologue, feat-
uring a screwball hostess, and never runs
twice the same way, but generally starts
off something like this : "Goodbye. I told
the servants you were coming. We have
breakfast at three, and the bathroom's
done in lavender and old lace, only the
lace doesn't stand up very well. You have
to coddle it. You'll find me in the icebox
in the morning — "
Every once in a while Joan will decide
to go on a diet. "All right," says Dick.
"I'll go with you. For better, for worse."
They instruct the cook not to give them
any food. They sit eating their meagre
dinner, giving each other verbal pats on
the back, and finish, feeling noble but
empty.
It isn't long before Dick spies a hungry
gleam in the eye of his wife. He starts
humming: "I — have a — feeling— we're
STAR-ving." With one accord, they steal
toward the kitchen. Dick pushes stealthily
at the door. If the cook spies him, he
beams good evening, and beats a retreat.
If she's mercifully absent, they descend
on the icebox and raid it.
They agree about most things and, when
they don't, they can always get a chuckle
out of their disagreement. Each insists
that the other suffers from what they call
telephonitis. "Dick,"^ says Joan, "was born
with a receiver in his mouth."
"So help me," says Dick, "she phones
three times as much as I do. I kept
track one day. I will say for her that
she doesn't go into these 'he said' and 'she
Dull, listless hair ruined more than one
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TTfT
The perfect bit of casting has just
happened at RKO. In "Bringing Up
Baby," Katharine Hepburn is sharing
honors with a leopard. Gary Grant is
in the picture, too, but it's the leopard
that's drawing all the commen!. They're
betting three to one that before the pic-
ture is completed the spotted thespian
will march into the front office and tell
the boys he can't take it any longer.
WAKE UP YOUR
LIVER BILE...
Without Calomel— And You'll Jump
Out of Bed in the Morning Rarin' to Go
The liver should pour out two pounds of liquid
bile into youi bowels daily. If this bile is not flow-
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in the bowels. Gas bloats up your stomach. You get
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Laxatives are only makeshifts. A mere bowel
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feel "up and up". Harmless, gentle, yet amazing
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else, 25c.
102
MODERN SCREEN
said' horrors, like a lot of women. She
just has to be sure that an earthquake
hasn't struck her family since the last
time she talked to them five minutes ago.
Here's Joanie calling her mother." He
jumped up and held a receiver to his ear.
"Hello, are you all right, yes I'm fine,
goodbye."
Dick yearns for a boat. Joan thmks it
would be all right, but lacks her hus-
band's fine passion for the rigging. "When
would we use it?" she inquires reasonably.
"I don't know," he confesses, and
clutches dramatically at her hand. "Pray
for me. Wife. Pray I don't buy a boat."
DICK'S a handy man around the house.
He can hang a door or build a cup-
board with the best of them. Joan is
secretly proud of his skill, but a little wary
of a tendency he has to improve on what
she already considers perfect. So when
she sees him marching by with his tool-
chest, she's likely to inquire : "Building a
new wing today, darling? Or just a new
house?"
She sleeps soundly, Dick lightly. Even
when they're both working, her rising
hour precedes his, because of the more
complicated problems of feminine make-up.
This is Dick, describing an early morning
scene: "The buzzer from the kitchen
rings at 5 :30. I wake up. To wake Joan
would require, in addition to the buzzer,
two kitchen stoves and part of a brick
factory falling through the roof. I yell:
'Hey, Joan, time to get up.' She makes
a cute noise that might be a small pig
grunting. I yell again. She says, 'O.K.,
honey,' but it doesn't mean anything. I
wait five minutes, because I'm sorry for
the poor kid, but if she insists on being a
movie actress, what can you do? Then
I call again. She says, 'Uh-huh,' and I
hear noises. So I snooze off, with an un-
easy mind, which wakes me up about five
minutes later, and there's my wife sleeping
sweetly on the floor, with a pillow under
her head. She likes her comfort."
What fun they can't provide for them-
selves, the baby supplies. He and Dick,
to whom he is Slug or Butch, form a
mutual admiration society. Fifteen minutes
in the morning belong by sacred and tradi-
tional right to Normie. Nothing is allowed
to interfere. Normie sees to that. The
studio may want Dick a little earlier, im-
portant persons may be waiting, the
heavens may fall. Normie points inex-
orably to the clock, because he knows a
clock has something to do with it. "My
fifteen minutes," he says, and means it.
Whatever Dick does, Normie is seized
with a prompt impulse to do. "I want
to pull a knife over my chin. Why doesn't
hair grow on mine, too? I want to look
like you." He's adopted Dick's special
word of approval, the word being, orig-
inally enough, "brokendown." "That's a
nice brokendown tie," Dick is wont to say.
One night his mother broke into an irre-
pressible giggle at some tomfoolery of her
husband's. "That's a nice brokendown
laugh. Mommy," Norman told her.
On the dresser of each, stands a hand-
some cabinet photograph of the other.
Pasted over the glass are two screwy
snapshots. One shows. Joan, finger in
mouth, hair in tight pigtails tied with fan-
tastic bows, face splashed with freckles.
The other shows Dick, his jaws stretched
in a cavernous yawn.
The snaps are a joke, of course, but
they're more than just that. They imply
a gesture, typical of them both. Two hu-
man beings are putting two movie stars in
their places. Not in so many words, but
in spirit and intent they are saying:
"We're Joan and Dick. The rest doesn't
matter. Let's laugh — and love the unim-
portant things" ofif."
Why does a girl in love blossom glor-
iously? Because she has the thrilling
assurance that to one person in the
world she is wonderful . . . adorable
. . . beloved.
Why do Blue Waltz cosmetics help the
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She discovers her own loveliness
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MODERN SCREEN
IJou Qei this ^MoXjlC
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ihis unique brush will give you the grandest
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104
(Contiimed from page 96)
i^i^i^ Victoria the Great
In this British-produced chronicle of the
hfe and times of Queen Victoria, a great
age passes in review. We follow Victoria
from her ascension to the throne as a
timid girl of seventeen, completely under
her mother's domination, to her Diamond
Jubilee sixty years later, when she had
made of herself one of the strongest, most
independent and beloved of women. Cele-
brated figures such as Disraeli, Gladstone,
Lord Palmerston, Lord Beaverbrook, Lord
Melbourne and Cecil Rhodes are woven
into the complex story. We see the forma-
tion and expansion of a vast empire and
the struggle to put down rebellion at
home and avert wars abroad, all faithfully
mirrored.
At times the film seems to carry the
weight of English history too heavily for
the taste of the average American and be-
comes ponderous and tedious. Neverthe-
less, there are many stirring and truly im-
pressive moments. The life of Victoria,
which to most Americans has come to
stand for primness personified, has been
lightened with quiet humorous touches and
sympathetic treatment. The romance be-
tween the Queen and her Prince Consort,
Albert, is charmingly handled, and her
long fight, never successful, to win for
her German husband the approval of her
conservative people, motivates the picture.
Outstanding in the cast are Anna
Neagle, who portrays the diificult role of
Queen Victoria from youth to old age ;
H. B. Warner, who dominates the too-
brief scenes in which he appears; Anton
Walbrook, Walter Rilla and Mary Morris.
Directed by Herbert Wilcox.— RKO-
Radio.
Angel
There's something about the ice-cold
presence of Marlene Dietrich which fills
directors with awe. Even the best of them
get the worst of it when they tangle with
the Teutonic Deadpan. Throughout her en-
tire Hollywood career she has managed to
walk through each of her epics without
a single change of expression in her lovely
face. No smile ever mars her sphynx-like
beauty, no trace of emotion ever crosses
her velvet-smooth brow. All of which is
to say that Toots can't act. She can't emote
because she has no emotions. Even at
that, how she can collect her quarter
of a million a picture and keep that straight
face is beyond us.
This time, as usual, she is a woman
whose beauty drives men mad. Her hus-
band, in the British consulate, is more in-
terested in Jugo-Slavia than in domestic
matters, so she winds up for an afifair ofif
the home field. A,fter considerable stagey
dramatics the affair doesn't come ofif, and
Marlene returns to her husband who, it
seems, has just undergone a romantic re-
awakening.
Herbert Marshall and Melvyn Douglas
are effective as husband and would-be
lover, but their material seems to weigh
heavily on them. The only bright mo-
ments in the picture are furnished by the
household servants, played by Ernest Cos-
sart, Edward Everett Horton and Her-
bert Mundin. Ernst Lubitsch directed, but
the anticipated "Lubitsch touches" are
missing. — Paramount.
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Many Never
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This Old Treatment Often Brings Happy Relief
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MODERN SCREEN
** Music For Madame
Nino Martini is back again in this one.
And that will undoubtedly be . enough to
send you rushing to see Music for Ma-
dame" You won't be disappomted m
Martini's glorious voice either, but neither
his role nor the picture can touch that
last success, "The Gay Desperado
Here Martini is a poor Italian lad who
heads for Hollywood to make fame and
fortune with his voice. En route he talis
into bad hands. Two crooks are planning
to steal some pearls from a weaUhy Holly-
wood producer and trick Martini into help-
ing them. He is to sing at the reception
and while attracting everyone's attention,
the meanies will grab the poils. Waving
unwittingly become an accomplice, Martini
then finds that they have also stolen his
most precious possession, his voice. i*_or
the only clue to the thief is the singer with
the golden voice, and Rodowsky, the famed
conductor (Alan Mowbray), swears he
will recognize that voice anywhere. Ro-
mance starts when Joan Fontaine, an as-
piring young composer, meets Martini. He,
of course, cannot divulge his identity, and
then later tries every way to prove his
identity to the police in order that Joan
may collect the price on his head.
It's genuinely hilarious m spots, though
many of the scenes with Detective Alan
Hale, Erik Rhodes and Grant Mitchell,
the district attorney, lack spontaneity.
Others in the cast include: Billy Gilbert,
George Shelley, Lee Patrick and Ada
Leonard. Directed by John Blystone.—
RKO-Radio.
* Dangerously Yours
You've seen this one before if you're in
the habit of sitting through the poorer
pictures on the double bill. For it's just
another of those jewel-lifting stories, with
the beauteous blonde a gal who may swipe
your diamonds, but who underneath you
know— or will by the end of the seventh
reel — has a heart of gold.
Phyllis Brooks is the feminine interest
in this case and if her acting ever comes
up to her looks, her studio has a good bet.
Cesar Romero is the tall, dark and hand-
some of the picture. He's much too cap-
able for the material at hand. _ Here he
is a gentleman, who, from all indications
should be regarded with suspicion. Later
on, of course, it develops that his inten-
tions are all strictly honorable. The story's
one claim to holding interest is the fact
that all the characters look shady, and
you stay on waiting for the first spark
of honesty to show up in somebody. Alan
Dinehart gives the best and most believ-
able performance, as Mr. Dinehart has
a habit of doing, while Jane Darwell and
Natalie Garson come in for some good
bits. Directed by Mai St. Clair.— 20th
Century-Fox.
★ This Way, Please
A musical of a decidedly minor nature,
"This Way, Please" is destined for the
bottom position in the double-feature em-
poriums. Its plot is standard, its lines
are dull, and an uninspired cast stirs up
practically no enthusiasm whatever. They
all perform as though they knew that
eventually the picture would be given
away with the cash on bank night.
Story concerns the love life of an usher-
ette and a theatre band leader. The little
usherette is really a talented dancer, and
eventually becomes a feature of the thea-
tre's entertainment, and winds up marrying
the band leader at a public ceremony on the
Buddy Rogers does little with the role of
the orchestra leader. Betty Grable dances
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and sings pleasantly enough as the usher-
ette who makes good. Jack Benny's Mary
Livingstone proves she's much funnier on
the air. Best scenes in the picture are
specialty numbers, one by Hill-billy Rufe
Davis and another by Fibber McGee and
Molly. In the supporting cast, Lee Bow-
man is outstanding. Directed by Robert
Florey. — Paramount.
i^i^i^ Wife, Doctor and Nurse
Though it's definitely a woman's pic-
ture, it seems unlikely there's a man alive
who couldn't get some enjoyment out of
watching Loretta Young and Virginia
Bruce. Warner Baxter is the fortunate
man who has these two girls clamoring for
him. Loretta is his wife and Virginia his
nurse, and both are that nice civilized sort
who decide to talk it all over and try to
reach some kind of agreement as to who
shall have Warner.
The only one whom they fail to talk it
over with is Warner, who goes blissfully
on, genuinely in love with his wife and
fully dependent upon his nurse in his career.
When the two women, in a burst of great
generosity, decide to give Warner up com-
pletely to the other, the fun begins. For
it's obvious that he cannot get along with-
out either and finally solves the situation
by telling that to them, and all three become
fine friends.
The plot, of course, is an old one. But
what makes it a good picture is the fine
dialogue and the excellent performances of
everyone concerned. No expense has been
spared in production, with the elaborate
settings and costly wardrobes further notes
of added interest. In the supporting cast
are Jane Darwell, who plays the doctor's
housekeeper ; Paul Hurst, excellent in a
small role as bartender, and Margaret
Irving, Minna Gombel, George Ernest and
Maurice Cass. Directed by Walter Lang.
— 20th Ccntnry-Fox.
Bulldog Drummond Comes
Back
John Howard plays the title role, and
the assignment proves too much for him.
His overacting, plus the series of unbeliev-
ably harrying situations into which he's
forced, make "Bulldog Drummond" a pic-
ture strictly for juveniles and the less
sophisticated ' adults. John Barrymore
hasn't much to do as Inspector Neilson,
but he steals the picture with his smooth
performance. Louise Campbell makes the
most of the feminine lead, but Reginald
Denny and E. E. Clive are wasted in thank-
less roles. Directed by Louis King. —
Paramount.
Love Is on the Air
This little number deserves mention for
just one reason and that's Ronald Reagan,
one of the newest finds of the Warner
Brothers. On the credit side of the ledger
for Ronald are an engagingly wide grin
and a nice manner. On the debit side are
a mediocre voice and obvious lack of
camera experience, traits which can un-
doubtedly be overcome with a little time.
Reagan is a political commentator for
a radio station, and in trying to clear up
the city's dirty politics, he becomes so
rabid on the air that his boss tries to fire
him. However, there's a little matter of
contract, as Reagan points out to him, so
the boss gets even by putting our hero on
the "Itsy Bitsy People's Hour" as story-
teller, a program gladly relinquished by
June Travis, who formerly was the story-
teller.
Love blooms, of course, along with the
usual bickering and bantering that goes
on between the lovers of every Grade B
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Name „
City State Age
106
MODERN SCREEN
picture. There's a wind-up of genuine ex-
citement when, through one of the chil-
dren on his program, Reagan gets a lead
on one of the largest crimes of the city's
underworld. Directed by William Mc-
Gann. — Warner Brothers.
irif Madame X
That old favorite, "Madame X," is here
served up again. But there is none of the
warmed-over flavor which one might ex-
pect, due to the excellence of the cast.
Gladys George's characterization of the
woman who sacrifices her life that her
son's life may not be blighted by a mistake
which she has made, is expertly achieved.
John Beal, as the son, gives a sincere per-
formance, though we could have done
without such heavy histrionics in spots.
Warren William, the unrelenting husband
who decides to forgive and forget about
ten reels too late, does a polished bit, as
does Reginald Owen, his close friend.
Others in the supporting cast are
Emma Dunn, as the faithful nurse and good
friend of the family, Lynne Carver, who
plays John Beal's fiancee and Henry Daniell
as the suave and ruthless gambler who is
the cause of Madame X's final sacrifice.^
The most remarkable phase of the pic-
ture is the disintegration of the woman
who goes steadily down in the world, not
caring or thinking of anything but the son
who must never know of her existence.
The gradual changes, from a lady of posi-
tion to a sodden hag are exceptionally
realized by Gladys George, without a flaw
in appearance, voice or actions. If you're
in the mood, then, for an obvious tear-
jerker, with good acting for compensa-
tion, take in "Madame X." Directed by
Sam Wood.— M-G-M.
* Fit For a King
This may not be the worst Joe E. Brown
picture ever made, but it will serve as
such until something really bad comes
along. Inveterate Joe E. Brown followers
know that the main assets of his pictures
are plenty of fast and furious action and
practically no plot. Evidently his pro-
ducers forgot to glance at the rule book,
for this is plotted to death, and there are.
long dull passages between the brief doses
of slapstick action.
The big-mouthed comic is handicapped
mainly by his script. Dialogue, when it
isn't tangled up in the plot, is a catalogue
of old jokes. Sample: Joe E. : "You're
from America, aren't you ?" Helen Mack :
"Yes." Joe E. : "Which part?" Helen:
"All of me." That gives you a rough idea.
The ebullient Mr. Brown plays a dumb
newspaper reporter sent abroad to untangle
complications in a mythical kingdom. Helen
Mack, for some reason or other, is a prin-
cess from Kansas, and there are numerous
mysterious characters who walk in and out
of the picture whispering ominous sound-
ing messages to each other. There are
two good scenes — one with Mr. B. in the
ship's brig during a storm, and another
with the comic riding a broken down hay-
wagon to rescue the heroine. Helen Mack
is pretty and effective enough for what
she has to do, and Paul Kelly does an
able job as a rival newspaperman. Directed
by Edward Sedgwick. — RKO-Radio
"I don't want to play 'Ham-
let,'" says Edward Everett Hor-
ton, "because-"
But we'll let Mr. H. go into
that in January Modern Screen.
\
/-^""^ who adn^'»'^e
, it>¥ , * and'^"' " ^
■ nfP""'"'^
«pr care
. «ea*« at radiance
von f Have d« j^^^Halr-*'*
'"TdrabVl-'^"* .Vradianc loveliness,
dark and dcab ^, ^ ,^ ,,^,„,,,
'«'°"r' . ,sdenuftcP«P-
\. Golden Hair „i enhance
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.„don...d«« of V"' Atough *e years.
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dby bean«fnWon>en=«J .^^^
*"t!s roo, - ^"^teir hai--*^'"^ "
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Marcband's -^7:,„rtess. ieaves no s
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TTTTa D Dili:-- ■ and
Hit pictures-comedy and drama-tliat you won't want to miss
★★★★lOO Men and -
this Pi'^tH'^^' At famous orchestra. They ^^^i.^own ^"^^^
Stokowski and his 1 ^^^^^ and a cast ^ screen careers._^^^_^^^.^^^,„
though Ueaniid. ^^^^
one word can ^d0 3u,^^.^^ ^^Cera'e the real '■star^^' ^J. ^^^^^
Pi<=\H-; Ais a"°o"^ I"ca?o1 well-known screen P
Stokowski and his t ^^^^^ and a cast^ screen careers^ -^^^^n
one, though Deanna ^^^^ ^heir variou- hundred po f ^y^^^^^^
^^^^h^'stS 'concerns a ^tio^^ U^rrJ^^.^^
--i"^"'nuXn° se s^ o^^t to f^t ^^n' from. promise to
Deanna Durbin ithal giveS;her '"^wcere V ^^^^
rlpserve, and tne " yi^\,ce oraQ^, = , ^^es ttie nc pgid
tflighty society -^^^J^j',,eniploye^ to get Leop
sponsor the orchestra Deanna sets . magnificent
Europe In ^f'^^ her orchestra .for o ^^.^^ with the Jjaj ^^^^^^
^thTrSlauShter ^JlSed%y Henry
Js|Yxfu°h ir «oTng-picture medium.
Koster.-U«».^'''^«'- I ! , ■
★★★The Great <^°^^'^\
„ actors' holiday, J fiction,
Give a group ^ i^:^7^^^^:'^J^^^J'Z
to emerge w^th a first^^ ^."ot t Tnv hed to play J,^ ^^Gar-
based on ^^^triumphs in L°"4°^; ^l^olve a vl^^H/T^nn where
Garrick, after t F^^'^^-fhe players take over a ^^^^^^^
Hcir'-4ir^^^^^^^^^^^ *e rest of
-;-«^^reSs .hich spark. ^ ^ ^^^^ ^^^^^
P^'' Brian Aherne's picture and ^^^^^ ^ent'on for a
- - ^^'fUXg'erS Hortfn ^e- is^vell
splendid. .Edward ^^^.^^^ he goes maQ^ l^""?%^L"is Alberni
^P^'^-^^rrid Stle prompter. ,M,;^^^omedie Francai e ^.^s
g a worriea president ot tnc and I^tf.'^^S an mno-
captivating.
Double Wedding
fortunately tii ^^^g P""- woman who ^anab
spineless character wedding- a trailer and hates ^^^^^
i°,a"r ntrrep'ressible ^^-V^tau iful cli-K ^ a .edd^^^^ ^^^^^
Everything winds up^to^ other lively -id^n^ ...^ a gui a-
Charlie's t^'^^^^iss Loy smacking M^ j^^g and bis gift toj
featured """"ong the supportmg V
Printed in V. S. .\. by .\rt Color Printing Compnny, Dunellen. N, J.
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iHOMlIIW
/ «-4uRITZ MELCHIOR is known
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Luckies— A Light Smoke
EASY ON YOUR THROAT- 'IT'S TOASTED"
AEJA GARBO'S TRUE LIFE STORY
A^i =-5 B38
nomances
JANUARY ISSUE-
16 STORIES OF MOVIE HITS!
rVV
Vo
ret
^^Does my Smile really attract others?
WONDERFUL, isn't it— the quick
magic a smile can work when it
reveals brilliant and sparkling teeth!
Shocking, isn't it — the disappointment
that follows a smile that reveals dull
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"Pink Tooth Brush" may
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"Pink tooth brush" is only a warning—
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Change to Ipana and massage, today.
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your smile brilliant, sparkling, attractive—
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* # *
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3
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mODGRn SCRGGH
CoDvright 193 9w/ by Dell Publishing Co., Inc.
Resina Cannon, Editor • Leo Townsend, Hollywood Editor
Abril Lamarque, Art Editor
NOW SHOWING
A LADY IN LOVE 24
ROBIN HOOD THROWS A PARTY 26
ANITA ASTONISHES 28
BOYER TELLS ON HIMSELF 30
A XMAS THEY'LL NEVER FORGET 32
MISCASTING THE MENACE 34
BACHELOR BRIDE 35
THE GADGETEER 36
WOMAN'S PLACE IS IN THE HEART 38
SMOOTHNESS IS THE WORD FOR BEAUTY 40
FASCINATING FRENCHMAN 42
GRETA GARBO'S TRUE LIFE STORY 43
NANETTE KUTNER
IDA ZEITLIN
FAITH SERVICE
GLADYS HALL
DORA ALBERT
ROBERT MclLWAINE
JAMES REID
GEORGE BENJAMIN
MARTHA KERR
MARY MARSHALL
MACK HUGHES
WILLIAM STEWART
SHORT SUBJECTS
THERE'S GLAMOR IN GLITTER
8
STARS" FASHIONS
REVIEWS
10
WHAT TO SEE
A CORNER ON XMAS PIE
12
CULINARY DELIGHTS
INFORMATION DESK
14
OUESTIONS ANSWERED
GOOD NEWS
16
MOVIE CHATTER
PORTRAIT GALLERY
19
GLAMOROUS PICTURES
BETWEEN YOU 'N' ME
62
PRIZE LETTERS
Modern Screen, No. 301773. Published rronthly by Dell Publishing Company,
incorporated. Office of publication at Washington and South Avenues, Dunellen,
N. J. Executive and editorial offices, 149 Madison Avenue, N. V. Chicago, III,
office, 360 N. Michigan Avenue. George T. Delacortp, Jr., President, H. Meyer,
Vice-President, J. F. Henry, Vice-President; M. Delocorte, Secretary. Vol. 16,
No. 2, January, 1938. Printed in the U. S. A. Price in the United States, $1.00
a year, 10c a copy. IConadion subscriptions, Sl.OOoyear. Foreign subscriptions
$2.00 a year. Entered as second class matter, September 18, 1930, at the Post-
office, Dunellen, New Jersey, under act of March 3, 1879. The publishers accept
no responsibility for the return of unsolicited material. Sole foreign Agents: The
International News Company, Ltd., 5 Breams Building, London, B.C. 4, England.
Names of characters used in stories and in humorous and semi-fictional matter are
fictiti<
If the name of a living person is used it is purely a coincidence.
4
MODERN SCREEN
MODERN SCREEN
WARIER BROS: CHRISTMAS PRESEIT
COLBERT
BOYER
THE SEASON'S MOST EXCITING SCREEN EVENT
The show that gave Paris a new sensation, thrilled London, and captured New York . . . now in
the full glory of the screen's mighty magic . . . with a great cast of supporting stars including
BASIL RATHBOIE
AIITA LOUISE
MELVILLE COOPER • ISABEL JEANS
MORRIS CARNOVSKY • VICTOR KILIAN • An ANATOLE LITVAK Production
Screen play by Casey Robinson • Adapted from the play by Jacques Deval • English
Version by Robert E. Sherwood • Music by Max Steiner • A Warner Bros. Picture
It^s on the way to your favorite theatre now — the grandest
love and laughter picture of this or any other year! . . . A
glorious Christmas treat for a hundred million movie-goers.
6
B Y
ANN
WILLS
Lovely Lynne
Carver finds her
touch of gUtter in
the green mir-
rored ornaments
that star the
blouse of this
smart , black
crepe afternoon
dress. It's smart
enough to wear
to dinner and
the theatre with
your best beau,
too!
Pretty Betty
Jaynes chooses a
black wool crepe
dinner gown, em-
broidered with
silver for glamor-
ous evenings.
Yes, wool grepe
once strictly c
utilitarian fabric,
has graduated
from the sports
class.
a
THBRG'S GLHfnOR IH GUHQR
TWINKLE, twinkle, every star!
That's Hollywood's watchword and
motto this gay winter season. For
the stars of the screen, not content
with merely outshining the stars of
the heavens by the light of their own
brand of glamor, are adding further
radiance to their already sparkling"
p-^rsonalities by adopting whole-heart-
edly, the new mode of glitter.
Flash like a lirefly ! Shimmer like
the Milky Way ! Sparkle ! No matter
what you call it, that's what you must
do this winter, if you're going to
follow the fashions of your screen
favorites.
Gone is the wide-eyed ingenue. In-
stead, this winter 3'ou'll be alluring,
sophisticated, devastatingly feminine,
a siren in sequins, or brocade, or
metallics, or lame. You'll have a
touch of glitter about you someplace,
whether it's in the fabric of your dress
or in your ornaments or accessories,
whether it's sequins, gold, or jewelled
trimmings.
Hollywood and Paris agree per-
fectly for once, and both are going in
for glitter in a beeg way. Inspired
by the styles of the Gay Nineties and
by the fireworks displays at the Paris
Exposition last summer, the designers
have outdone {Continued on page 61)
And you must sparkle, too, if you follow movie star fashions
MODERN SCREEN
me.
Around the world... from romantic Venice to the mys-
tery and wonder of old China. Do you want beautiful
women? To Gamble? To Trade? Want Money? Want a
Good Fight? With wealth, beauty and love... if you win?
The proud princess . . . whose
guarded pagoda was stormed by
whispers and sighs... teaching a
"stranger how to really love.
The cunning and trickery of
the East.. .an adventurer's blun-
dering luck . . . matching wits for
the world's treasures in trade.
PRESENTS
GARY COOPER
J y^,,-rH ' INTRODUCING
BASIL RATHBONE SIDBIBGUBIE
ERNEST TRUEX • GEORGE BARBIER • ■ ^^'f^Tl^^""""''™'
wyn in Not^ciy • • • yourtgr
ALAN HAIE'BINNIE BARNES
beautiful, interesting and ex-
And a Cast of Five Thousand ci«ng in her fresh taJent . . .
Directed by ARCHIE MAYO • ScreenploY by ROBERT E. SHERWOOD
Rehased thru United Artists
The clash of mighty armies... a
hero's sword slashing his way. . .
and then, with his beloved safe
in his arms, across the bridge
that even today in Peiping is
called the Marco Polo Bridge.
m cinema history ^^^^^^ ^nd gra^ ^^^^ see on the
rt°e most superb perto j^apoleon's u^dor^WedW
4^^^tc^rO*ers outsta^nd.ng^(t{5.gwater. Directed
performances .^^g^^ and Clau
°UYo 'sell her to the g^^P^^^ ^.^per n>om „^,,,af ather.
father arrives on the performance as the ^ ^^e
Live, Love and Lf°:.^«^^^^^^^^^^
, V,andle their 0'i -„n,-nents m of tnir'S_, comedy «
tbey nanu. , j^atic as^i^ , pt at tnis '•^i, Loy—
their niore dram^^ herself adep league Myrn
particularly^ to her as a m ^ ,i.^,orn triangle them
no ionger re^^„o,v. ^^ying the -weU ^ ^,,erage en ^^^^^
^^^Thfsto^y^^ ^."^^fpeHom^^^tTesf screen role to ^^^^.^d Miss K
the'^«tt-^>lel,;^^
^0 ^^"^^Vuff no^v. . ^ „^ploying the v^eu- ,^ average ^^^^^
"^^Thfsto^y^^ ^."^^fpeHom^^^tTesf screen role to ^^^^.^d Miss K
Sfss din' Uirected by Georg
as Mis^ nutstandm^-
BV LEO TOWNSEND
nearly to death^^X^ -^^^ l^^McCa^y l^as
son IS that t »f . the same b-^"- Director Leo ^^^gds
this season. ^\'tV4''e o£ insane tarce a pic>:u
'of the '^e^f J^^^^a^ Verpiece, P^°^^^^ Grant and
fashioned a eomeuy ^ cast-^ana ^-^^ . of _ Mr. G.
s a good scnpt^ a goo^^ marital tr^buU divorce a^^^^ n)
Plot IS t=^sed o ^ *''^„ht-club singer ^oyce
trene Dunne, ^^af/ffv-headed ^vhile Miss D- , the
time to f'S; GeltinS „„tSled. ., „a', Nttioljei One
process of tn^'^^^tainment ;s ""f,f Bollywoods ^isaPPoinl"',S
f estili.l.f ,l;'»f '|,ie, aft" ..rStetaek
Stand-in ^ont
can. thank the ^^^^^^h makes conservative
„,wn Atterbury _Dodd ofpthe^^^ , a.
:an thknk *e^oca> -^.c, ^a.es it one o ^- ^^^^^^^^^
nl happens when Mter^.a^^^e^^^^^^^^^^^
E erything ^^^f^pennypacl^ej^^f "Management of Colons
HoUy°-?^V°itfol rtllmpressive titl.^Mr.^^^^ of
"^^'^ hif^'d nVhCg H^;>Xut\Sh1n a hurry- ^
little of W^^^Xn, hut he le^rns^ ^^^^ _,ob m tM ^^^^^ ^ a
Shirley Temple . S B^°"'^^ ' '?ner Watch for her
Leslie Hovva ■'°t;ns him trouper, vv a ^^^^
hewihlered £; as ^ flip-c««ey Temple s» sogart
constant Impersonation of b h r y and his pathetic
devastating mipe the acting alcohol a"? 'tive Maria
Ship LoH'P°?-a producer disi^^^^f %fayed by fduc^'iv'
^"'^^%f a phoney raTge^fplent o/^T^^^fe eleS as the
So°m t^e^t {n1; Tf^^^^^^^^^^
tor, and J- ^- -pi^ected bv lay
Pennypackers. _ — „
A« Bobo Goes to Jown^
^ ,:..„ reports, has a ^ ^gsuh
AH Baba t^oes ^oiioxving^in
overdose of sU. 1^^^ Youngys^^^^al tactics Jfche
The Sultan \i employs '^ew „side down. . . tion, and
lo Cantor steps m. ^.^f the countr> up^^^^^ ^dmmisUat °
^^^^^rSt^-^^ so
iFs a gala month, picture-goers, tor tliere are hits galore
n CORHBR on HfflHC PIG
Dorothy Lamour would like
you to try her lavorite
holiday desserts, hecause
they're so unusual
BY MOJORIE
BEEN
Here, at last, in Dorothy Lamour's
tempting Christmas Pie, is a dessert
that is not too rich to follow that
heavy dinner you're going to have.
On the "Big Broadcast" set, Dorothy
builds up energy for her next scene
with a handful of delicious raisins.
REMEMBER Little Jack Horner's famous
Christmas Pie, the one from which "he
pulled out a plum"? Well, I learned some-
thing interesting the other day about that
feat of his, during a conversation with
Dorothy Lamour. It seems that it wasn't a
plum that he drew out at all, but a raisin.
For, traditionally, a Christmas Pie is one
which, like Mince Pie, is simply chockful
of raisins and has no more relation to plums
than does a Plum Pudding !
I discovered, after further research, that
the English give to raisins, when they are
used as a cooking ingredient, the term
"plums" — for no good reason that Fve been
able to unearth ! But, anyway, that's how it
happens that at Christmas time, though we
refer to plums, it's really raisins we plan
to use when making up the various tempt-
ing desserts with which we top off our
Yuletide feasts.
One of the nicest desserts I've heard
about in some time is Dorothy's version of
Jack Horner's Christmas Pie. But you'd
never go sit in a corner, like Jack did, to
eat it, for this treat deserves a place in the
spotlight. This pastry dessert is even nicer
than Mince Pie because it isn't too rich,
which certainly is a point in its favor when
you realize that it is intended to be served
after a rich holiday meal. Another pleasant
feature is that it's easy to make.
You haven't much time, you know, for
cooking experiments or household pursuits
when you're playing in pictures. You have
even less leisure, of course, when you add
a weekly radio broadcast to your other
activities as does Miss Lamour. So Dorothy
must confine her cooking efforts to infre-
quent sallies into the kitchen to prepare the
one or two dishes which both she and her
husband, Herbie Kaye, enjoy as a change
from restaurants and night-club fare.
Throughout the winter months when cran-
berries and raisins are popular, this pie
wins their unqualified approval — as it will
yours — with its deliqious flavor and suc-
culent Christmas "plums."
CHRISTMAS PIE
2 cups seedless raisins
cups cranberries
23/4 cups sugar
1/4 cups boiling water
2 tablespoons flour
1J4 tablespoons cornstarch
>2 teaspoon salt
% teaspoon nutmeg
J4 teaspoon cinnamon
1 egg, beaten (Contiimed on page 80)
12
MODERN SCREEN
^^1^ UP YOUR J0£S!
, . . Here comes Fred's big dancing
show . . . with HoIlywood^s Girl
of Your Dreams for romance . . .
and George and Gracie Gracier
than ever! . . . New daring dance
creations! . . . New bluezy song
swingsations! . . . New knock-
out laugh sensations ! ... in a
dizzical, dancical, musical
show thrilled to the top
with buoyant life at its
gayest !
13
MODERN SCREEN
PERFECT
for name after name
on your Christmas list!
Now! Armand comes to the rescue of those
perplexed by Christmas buying. Every
friend whom you remember with an Armand
Gift Set, will exclaim, "Oh, how NICE!"
Gorgeously artistic, Armand Gift Sets are
sure to please . . . yet helpfully inexpensive.
The lucky recipient of an Armand Gift Set
will thank you ever afterward. In two
styles, both contain Armand Blended Cream,
that new five-in-one facial . . . the secret of
fresh, radiant loveliness. Both styles con-
tain Armand Cream Rouge, used by fas-
tidious women to subtly high light their
beauty. You have your choice of either
Armand Wind Blown Roses Powder or the
famous Armand Cold Cream Powder.
Do your Christmas shopping early at your
favorite toiletries counter. When you see
these exciting Armand Gift Sets, you will
want several, probably one for yourself, too.
ARMAND: Des Moines, Iowa
Please send free, sample of Armand
Blended Cream.
Name
Kosemary Lane (First
printing. Number of re-
quests 307.) She was born
in Indianola, Iowa, on
April 4, 1916 and lier name
was Kosemary Mullican.
Slie attended high school
there and then went to
Simpson College. In col-
lege, she appeared in a va-
riety of operettas and plays and displayed
a very definite talent. She studied voice
and piano with an eye to becoming a con-
cert pianist. She was a Pi Beta Phi and
belonged to the National Scholastic Society,
but doesn't look the part at all. In fact, she
was the original Betty Co-Ed with every
boy in college begging for dates. Rose-
mary, however, wasn't the only pretty and
talented girl in the Mullican family. She
had three sisters, Leota, Lola and Priscilla.
Leota and Lola were the first to launch
themselves on a theatrical career and while
Priscilla was in New York studying drama-
tics, Rosemary and her mother paid her a
visit. One day the girls stopped in a music
publisher's to buy some of the newest songs
and while they were running over the mu-
sic a man passed by who was so impressed
with their voices that he introduced him-
self. The man was Fred Waring and he
gave them both jobs with his Pennsylva-
nians. With Waring's orchestra, Rosemary
.Tnd Priscilla had plenty of radio work and
stage appearances and then came a picture
offer from Hollywood. "Varsity Show" was
the result. Rosemary's beauty and talent
pictured as well as it got over on the stage
and radio and she was signed by Warners.
Lee Bowman (First print-
ing. Number of requests,
32.')). Lee Bowman really
intended to become an at-
torney and if it hadn't been
for his brother-in-law.
who was head of the little
theatre movement in Oma-
ha, Neb., he probably
would have. Born in Cin-
cinnati, Ohio, on December 28, his child-
hood and earl.v youth was about the same
as any average boy's. After graduating
from high school he took a three-year pre-
legal course at the University of Cincinnati.
During this period, his brother-in-law, Ber-
nard Szold, stepped in and induced him to
leave school and .ioin a stock company in
Omaha. He played several roles with tell-
ing success and again, on his relative's ad-
vice, went to New York and took a two
years' course at the American Academy of
Dramatic Arts. Following this, he joined
a stock company in .Jaffray, New Hamp-
siiire and from that graduated to a role in
the New York production of "Berkeley
Square.'" In that play a Paramount talent
scout discovered him. A test followed and
a contract was the result. Bowman has
sung on the radjo and can go into a mean
bnck-and-wing without batting an eyelash.
Nelson Eddy
19th October, 1937
Dear Information Desk:
Just by way of thanking you,
may I say how much I appreciate the Barometer
standing your readers have accorded me!
I feel honored that they ^ould take tiicB
to send in votes for me and feel also that your
Barometer is an accurate gauge of public opinion
where a star is concerned. You know how chief a
concern it is for a player to please the public,
and when he can know for a certainty Just how he
stands It is a fine thing Indeed. The fact that
the Barometer conT)iles a six rronths' record in-
spires confidence in its authenticity. Because
of this, 1 am all the more grateful to the fans
who have been so generous.
With best wishes for your continued
Very sincerely yours.
Information Desk
MODEKN SCREEM
149-Nbdlson Avenue
New York, New York
Due to a misunderstanding which
seems to be confusing a great number
of Information Desk followers, we are
taking this opportunity to again ex-
plain the system by which our Barome-
ter figures are compiled. A star's posi-
tion on the Barometer is determined
according to the number of votes he
or she receives over a period of six
months. Thus, if Errol Flynn were to
receive three thousand votes from
April through September, that would
be the number of votes to appear on
the Barometer for that six months'
period. However, when October's
votes are tabulated, the month of
April is deducted from the original
three thousand and October's total
added, in order to keep the number
of months still limited to six. It is pos-
sible that the number of votes Flynn
received in April might have far ex-
ceeded the number received in Octo-
ber. Thus, his grand total in October
would be less than his grand total in
September. One month is always de-
ducted for each new month added.
Therefore, though a star's rating may
seem incorrect, it is actually a per-
fectly authentic count of the votes sent
for a perpetual period of six months.
MODERN SCREEN
jEight Movie Fans, Newark, N. J. Anything
to oblige. Claire Trevor is five feet three
inches tall and isn't married. Igor Gorin
is Russian. Frankie Darro just acts that
way because of the parts he gets; he's not
really tough at all. And neither is he Judy
Garland's boy friend. Mickey Rooney is
the lucky lad. Humphrey Bogart was
married but has recently been divorced
from Mary Phillips. As for the song you're
interested in, why not try your favorite
music store ?
Sarah Percosky, Brooklyn, N. Y. It's no easy
matter to break into the movies and you
certainly won't find talent scouts wander-
ing around Brooklyn. Why not try your
luck on some amateur radio program and
see how far vour talent takes you ? If you
are outstanding, you will achieve recogni-
tion and, if not, better give up the idea of
pictures.
Erna Wilde, Chicago, 111. To obtain photo-
graphs of the stars write to the studio where
they are under contract and enclose twenty-
five cents to cover mailing cost. .Janet Gay-
nor may be reached at United Artists, Hol-
lywood, Calif. Blargaret Lindsay, Errol
Flynn and Anita Louise should be ad-
dressed, AYarner Brothers, Burbank, Calif.,
Don Ameche and Tyrone Power, at 20th
Century-Fox. Hollywood, Calif., and Clark
Gable, Bill Powell, Luise Bainer, Jimmy
Stewart and Robert Taylor at Metro-Gold-
wyn-Mayer, Culver City, Calif.
Laurence Mayer, 'Woonsocket, R. I. Life
stories of favorite stars appear each month
iu this department of Modbkn Screen. The
Mauch twins' biography can be found on
page seventy-four of the November issue.
This also answers Frances Lampert.
Dorothy Baohelder, Cedar Rapids, Iowa.
Mickey Rooney is fifteen years old, Deanna
Durbin fourteen, Judy Garland, thirteen
and Jackie Cooper is a young man of six-
teen.
Iva Kraus, Ellwood City, Penna. Pat
O'Brien's pet hobby is buying loud neck-
ties for himself. When his friends josh
him he pretends whatever dizzy neckpiece
he may be wearing at the time is a present
from his wife ! Simone Simon's latest pic-
ture is "Love And Hisses."
Arlene Darrow, Cleveland, Ohio: If you will
send a self-addressed, stamped envelope,
your questions will be answered since they
are too long to appear in this column.
Floyd Smith, Lockport, N. Y. We are glad
to" be able to set you straight on this Ba-
rometer business and hope that our reply
to you will answer a lot of other similar
questions. ITirst: One person may send
in all the requests he wishes and they need
not be written on a coupon. Each separate
request, of course, counts as a new vote for
the favored star. Now, as to our free-pic-
ture offer. We did have such an offer some
months ago, awarding a picture to the per-
son sending in the most requests for some
star, but the idea has proved highly im-
practical and has since been discontinued.
Mrs. Stella Borders, Portsmouth, Ohio: Yes,
Robert Taylor did appear in a picture with
the late Will Rogers. The title was "Handy
Andy," and it was released in 1934.
INFORMATION DESK. MODERN SCREEN,
149 Madison Ave.. New York, N. Y.
Please ])rint, in this department, a brief
life story of
Name
Street
City State
If you would like our chart witli weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
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CopyiiBht. 1937, T.ohn & Fink I'ro.lu.-fH Corp.. BIco.iiH.-lil. N. J.
15
Out on the "Bringing Up Baby" set, "Baby" is a long, lean leopard,
not Katharine Hepburn. Baby was rented from Olga, famous animal
trainer here in town — but it isn't Olga who keeps Baby so docile.
It's the fact that everyone in the cast is doused with perfume. For
the leopard is a push-over for French perfume, preferring "Evening
In Paris" above everything else. Once having sniffed this on one cf
the players. Baby is his friend. Funniest thing we've ever seen is
the husky director, Gary Grant and Charlie Ruggles spraying them-
selves with a large atomizer of perfume before going into a scene
with Baby.
When his publicity department tried to get Wayne Morris on
the phone the other morning, they found to their surprise that the
number had been changed. Wayne finally drifted in later on in the
day, and the irate department head asked him just why this had
happened. Wayne blushed crimson, then stepped up to the. boss
and whispered, "Well, isn't that what they all do out here?"
Writers went to work furiously on "Mad About Music," while the
Wall Street bankers held the purse strings. To add to the situa-
tion, Deanna was growing taller almost daily, and Universal execu-
tives were growing correspondingly balder. As we go to press,
the script has just been finished, Deanna is just on the verge of
blossoming into young womanhood, and the bankers in Wall Street
are coughing nervously.
Over at RKO they're fuming over a rotund comedian who has cost
the studio over $100,000 on one production. His habit of forgetting to
show up for work got very annoying, especially on days when
several hundred extras had been assembled for scenes. The gal
star of the picture, who was once very friendly with the guy, now
treats him with icy silence. The other day the errant thespian topped
everything when, after a gay night, he showed up right on time for
work — but at the wrong studio.
When Carole Lombard and the "True Confession" company jour-
neyed to Lake Arrowhead for location scenes, a Mr. Gable decided
Arrowhead was a swell place for a short vacation. The mountains
up that way look especially fetching when Miss L. is standing in
front of them. Third day up there Gable drove to nearby San Ber-
nardino and stopped in at a bakery to buy a birthday cake for
Mae West, whose popularity is on the wane, invited the press to
a huge cocktail party on one of the sets of her new picture, "Every
Day's a Holiday." It was Mae's first party to the press, a nice
social gesture as well as a chance to coax a few lines in the public
prints. Affair started at five, and it wasn't till six that Mae made
her grand entrance. With a regal smile she seated herself at the
honor table, and George Rector made crepe suzettes on a chafing
GOOD
OGUJS
BY
LEO T 0 W N S E N D
Carole. In five minutes the whole town was at the door, the baker
rushed out for a photographer, and Clark dutifully posed with
everything from com muffins to angel cake.
Sonja Henie must be out of town for the eve-
ning 'cause here's Ty Power, dating Janet
Gaynor, and incidentally, getting a light.
Most uninteresting item of the month : Jeanette MacDonald's
press agent, wilting under sustained cross-examination, reveals
Jeanette's favorite swear words. They are, "Oh, flibbergibble ;"
and "Oh, shuttlebob!" We merely report this in the hope that
Miss MacDonald will read it and blush. We've seen her on the
set when, on more than one accasion, she shouted out a few good
lady-like damns. And we don't give a flibbergibble who knows it!
What is this thing called Love? Tyrone Power kisses Janet Gay-
nor a fond goodbye and she sets forth for New York firmly believing
she is the girl in his life. Next day Sonja Henie arrives in Holly-
wood, and Mr. P. is on hand to kiss her a fond hello. And Loretta
Young, who gave up Director Eddie Sutherland for Tyrone, now goes
with Producer Joe Mankiewicz, who probably doesn't give a shuttle-
bob about the whole situation.
dish and over the loud speaker system. Completed, they were
handed over to Mae, who devoured them daintily while the press,
munching meatballs, was allowed to look on. It was all very ele-
gant and dignified, befitting a personage of Miss W.'s background.
You probably never thought of Spencer Tracy as a male fashion
plate, but wait until you see him in "Mannequin." In a fashion show
scene, Mr. T. appears in cutaway, striped pants and ascot tie. The
costume wasn't by Adrian, but it could have been. Spencer took
plenty of kidding on his sartorial elegance from cast and crew. Just
to show you what a spineless guy he is, he was afraid to wear his
costume to the commissary for lunch. Each noon hour he rushed to
his dressing-room and put on an old suit before appearing in the
lunch room.
■Very fancy situation out at Universal. With "100 Men and a
Girl" practically saving the studio from bankruptcy, orders came
through to rush another Deanna Durbin picture into production.
16
■yVell, they settled the big Bartholomew-M-G-M feud. Freddie
claimed he couldn't pay his way through grammar school on the
paltry thousand-a-week they had been paying him, and Metro
told Freddie they made much less than that themselves when they
were a boy. But now Freddie is back at the studio, at $2,000 p
week, and everybody is happy. Except young Douglas Scott
whose accent is just as British as Freddie's, and wlio would
have had Freddie's job had the feud continued.
In a studio projection room the other day, we looked at
several scenes from "The Goldwyn Follies," on which Mr.
G. is spending some two million dollars. One of them
was a ballet number. We don't know how you'll like
ballet, but we're positive you're going to like the dancer,
Zorina. She's one of the most gorgeous creatures we've
ever seen on the screen, so keep an eye out for her.
We also saw a scene with Edgar Bergen and Charlie
McCarthy. McCarthy is funny, but we predict ho
won't be as popular on the screen as he is on the
air. If we're wrong, pretend you didn't read it
here.
Surprise! Bette Davis doesn't seem t
know what to do about that lei some
one gave her at the Club Waikiki
opening. That's Lloyd Nolan on her
right, listening very intently.
Gay doings among the stars
these days, with holiday hilarity
holding forth in Cinemaland
Tch, tch, Simone! We never would
have suspected you of being coy.
Or is that just the effect Gene Mar-
key has on you? Yep, it's romance.
Happy, though married, Fredric March
and his attractive wife, Florence Eld'
redge, enjoy an evening just for two.
One of the nicest young ladies either on or
off the screen is Virginia Bruce (unpd. advt.). We
spent a pleasant half hour recently in her dressing-
room on the "Bad Man of Brimstone" set, discussing
this and that and taking in the scenery. The scenery,
of course, is Miss B. herself. She never wears make
up on the screen, and we tried to pry loose a few beauty
secrets. Unfortunately, it seems, there ain't no secrets.
The little lady just happens to be beautiful, which is a
dandy trick if you can do it.
Best gag of the month is in "Live, Love and Learn."
{Contmued on page 70)
When Bob
MODERN SCREEN
GENE AUTRX
LEO CARRILLO
CAB CALLOWAY
KAY THOMPSON
TED LEWIS
JOE DIMAGGIO
Feafuring TED LEWIS and his ORCHESTRA
CAB CALLOWAY and his COTTON CLUB ORCHESTRA
KAYTHOMPSONand herRADIO CHOIR 'JOE DIMAGGIO
HENRY ARMETTA • LUIS ALBERNI • MAX TERHUNE
SMILEY BURNETTE • LOUIS PRIMA AND HIS BAND
AND ... Introducing That Singing Cowboy Star
GENE AUTRY
Directed by CHARLES F. RIESNER • Original scr..n play
by HARRY SAUBER ■ Adapled from the musical revua "Monhatlan
Merry-Go-Round" by FRANK HUMMEKT
Associate Producer HARRY SAUBER
vr
HENRY ARMETTA
HIT TONES . . .
"Rountl Up Time In Reno"
•"Have You Ever Been In Heaven?"
"Mama, I Wanna Make Rhythm"
"I Owe You"
"All Over Nothing At AH"
LUIS ALBERNI
PICTURES
CREATE HAPPY HOURS
18
wayne morns
THIS IS a story nobody knows.
Neither her studio, nor its press de-
partment, nor the dozens of reporters
who unsuccessfully tried to reach her.
It is the story of Luise Rainer's
strange vacation.
They knew she was in the East.
Someone had seen her at the opening
of "Dead End." Someone else
glimpsed her in Connecticut. Those
reporters who went down to the end
of Fifth Avenue, to the beginning of
Greenwich Village, to the Clifford
Odets' penthouse, faced a sign neatly
typed on a square of paper tacked to
the door. It was a warning, a
printed slap-in-the-face, brief, ex-
plicit, rude. "Unless the visitor has been
announced from the desk downstairs
the bell will not be answered." And.
that was that. Here is the reason why.
"They think I am not cooperating,"
Luise Rainer protested, to me — ace
tracker-downer — as she paced up and
down the wide living-room floor,
tossed her black hair, gesticulated
with both hands, spoke in her charac-
teristic way — with all of herself.
"No ! I was not giving interviews,
having my picture taken, buying
clothes on Fifth Avenue and running
to night clubs. But I was cooperating
just the same, cooperating by learn-
ing to be a better actress!"
"So you won't rest on that Acad-
emy Award laurel," I commented.
"But what were you learning? What
were you doing?"
For answer she led me out onto
the terrace. "Look!" she exclaimed.
"Your New York." And we stared
down to the East River, to the Hud-
son, to the compact little streets and
the skyscrapers surrounding us.
"Look !" she repeated. "I have just
a few very precious weeks. I come
here from Hollywood for a breath of
air, for a breath of humanity, for
life itself. I breathe it in, then I go
back. Hollywood is like living in a
tower away from reality, nothing is
real there. Here it is so different, so
wonderful !"
Again the speaking in superlatives,
the pacing up and down, the waving
of the hands, this time both arms
opened wide as if to embrace the
whole sky.
"You know what I did on this
vacation? You know what I saw?
Come, I'll tell you."
Quickly she dusted two deck chairs.
"We sit here like this. Now, listen.
One; week I wear a white uniform
like a nurse. I comb my hair back
under a cap. I scrub off my make-
up. And I persuade a doctor friend
of mine to take me to the city hos-
pitals. There I work. I don't go
in like a star, with my arms full of
flowers, my face full of smiles. No,
I go and turn pillows and wash faces
and smooth blankets and hold hands.
They do not know who I am. But I
see things— life, suffering. I see
babies whose mothers were too poor
to have them. I see little children,
undernourished, sick. I ask where
they go when they leave the hospital.
•They must go back, I am told, to the
tenements.
"There was one little boy I can-
not forget. He had tumor on the
brain. I watched the operation. After-
wards he tried to tear off the band-
ages. He was so sick. Yet he must
return to the dirt, the poverty, the
drabness, the bad air. But right
24
Luise Rainer cmd her playwright hubby,
Qifford Odets, lunching. Mr. O. seems to in-
fluence wifey, Luise, despite her protesta-
tions to the contrary, for while in New York
City she chose to rub elbows with the sort
of people he writes about.
Luise says, "I'd rather ploy the part of a
slavey in one of those Russian pictures than
star in something that is a waste of time."
W outside those hospital windows is the East River,
M and I look and see the yachts of the millionaires,
w And it makes me sick."
■ Obviously afraid I might think she shares her hus-
■ band's radical opinions, Miss Rainer hastily inter-
I rupted herself. "I am not interested in politics. I
am interested in people. I want to be like them, to
understand their troubles, to play to them, not to
the yachting ones, who are not real, who are like
Hollywood. I want the people to see me and say, 'You're
one of us.' I want to take from them their mannerisms, their
troubles, the atmosphere in which they live. I want to
breathe it all in and give it back a hundred times !
"I went to the public library. I wore an old suit and eye-
glasses. I sat and talked to the lonely people there, the city
people who had nothing to do, no place to go, nobody with
whom they could talk, except perhaps, the doorman. In the
library I realized how great America is. One can come to it,
and read and learn all for nothing. It is so well organized.
In no other country in the world do you find it like this.
"I went to a labor meeting. And I visited the office where
the German refugees are sent. I listened to their stories. I
tried to put myself in their places, arriving in a strange land,
having to speak a new language, leaving everything they
love behind them, and no way to earn a living."
She sighed, then smiled as another memory flashed across
that quick mind of hers. "I went to the Metropolitan
Museum. There I saw too much beauty. It chokes me, so
much at the same time. And I made myself only look at one
thing — ^at the Grecian marbles, the sculpture. I wanted to
carry that memory back to Holly- (Continued on page 67)
25
nOBin HOOD THROBIS
I ARRIVED a. Errol ^f^i'^?: d*Mwt^
t a storv from him. Mr. ^^y"^ "Wouldn't you
Srlst Sught - ««X"ceTc4a«t«B? ^ glass
like to sit out on *'ows we've got a story to do
, sherry^perha^sj OJjes, ,v
Srrv' Maybe that ««• i-P" -^,,ded, grave,
Sheffield is the Fl)™" °"p G Wodehouse to us,
correct. "A gift ^^f^S/^'^^'^^' back vamshes
Errol murmurs, as bneni
mto the house. , • head on hlynn
"Irno ga-bols up and lay^^^ broke h.s leg
knee. Arno is the Schnauzer travehng three
on ocation. Flynn ^^^^f^^^^^^^^^ '^l^'^
-«rdo,s. Co-?nov.^nd^s.the^^^^^
tw^o\S:in^^^^^^^^^ - ;rs Ctr;.:
^;Somrr rise to greet Y^^' , ^J^PpTynn introduces
Sr^Vs overtoPPmg^ouj.^ J/^^^^^^
them. "Mr. and Mrs. . ^
you.
<- +n admire animals,
^bh, but you didut come out to adrn
Y„u cUe for a story. R'gM- ^e and gets
IZ will, he takes you hackj;°*=ettled. He drops
you settled again. He „ets
Plenty c. ,als will ='* ^^jS^'S
Ms hands between his long 1^^^^^^^^^^^^
good child eompletely at >o ^v^.^^.,
oears at the door. " , „,;tten all over his face.
f'Flynr, jumps "f^^gf^JJ^Ze me? m.he "gW
■ ;lS^i%Se ^e! cotne hack he's grinning f^»
"^X ear, He draws ^^^^l^Jr V"' ^s to
off the grin, and tries ^uu ^ ^as this
called up one n-rning/f said ^^^^ moment I d
birthday party that "^Sf. - and been perfectly
forgotten that it was "^y^ fj^^^^ealled, I began wax-
happy iti my ignorance. AJ^er he ^^^^
^l^^sentimental, lof^^' X wo^^, who remem-
They surrounded me, sei
n PHRTV
te's never a
dull moment ilien
WRynn plays W
B \
IDA ZEITIIH
Birthday to you' a"*f,/t:Vond5. tS
tion. ^ , . , p^^^st and called the waiter.
" 'That's fi«^''^^^^,,f7of Frank Morgan's birth-
'Take it away. That s tor „ g^t to
arrived, Mr. Flynn,
he announces. a look ot dis-
You have only time to throw ^^^ „ ^
may. ."I ^^Ij u ground. MayV you can get
r&tween*ate Hello, Sador.
,;+Vi n p^enial face,
A SHORT thkk^set^ man, with a
stands beside Sheffield and ^ otherwise known
bow. Enter ^^"^'^ ' 3^f>^om the house into the
as the "Body Beautifuls. t^ ro ^^^^^
garden, they emerge by twos a ^^^^ ^
Ire twenty-five mall, group « ^^^^^ the
from the day's work, ^^J'^^^ ^ they've been
prospect of entertainmet^t^ AU d^y^^^^^^
wrestUng, ^P^^^^f'.^.'^^i preparation for their
cudgels, bows and arrows in p P^^ gome, who
. jobs as Robm ^^od s
worked with him m ^-^P'^'V
Others he's ^^rs 'o^^ boys, confides m
•Sailor, doing the bon°rs t^^^-^ ^^^^ ,4)
you the origin of the v^t^
I TOOK one good look at Anita Louise and then, to
paraphrase a popular song, my preconceived ideas stood
still 1 I had expected her to be, to speak honestly, a sort
of composite Elsie Dinsmore, PoUyanna and Elaine, the
Lily Maid.
In other words, I went to lunch with Anita Louise
anticipating, not too eagerly, an hour with a flawlessly
beautiful girl, after which I would go home again, not
sadder but certainly not wiser.
From the instant Anita Louise joined me at table, from
the first strong clasp of her hand, from the first stimulat-
ing, alive tone of her voice, my preconceived ideas folded
up their little gossamer wings and did flip flops all over
the place.
There is a stern quality to her beauty, a forthright,
debunking, pungent quahty to her mind which would have
thrown Elsie Dinsmore into such jitters as even Elsie
never could have conceived. And there is a sense of
humor which includes even herself and her own problems.
The beauty, of course, cannot be gainsaid. But her
intelligence, her vitality and maturity, give to that beauty
a character, a compelling power, an intellectual promise
which is not, I must admit, the kind of beauty I had
expected. Five minutes after we began to talk I forgot
how beautiful she is, because her beauty becomes a
secondary matter. I said, on a sudden thought, "Your
greatest problem must be your beauty."
"It is," she replied, agreeing with me as matter-of-
factly, as honestly as though I had said, "that wall eye
of yours must be quite a drawback."
Because she is honest. She is completely without coy-
ness. I emphasize that, because a beauty without coyness
is a lovely thing indeed. And rare. And it would have
been coy of her to simper, to try to pretend that she is
blind, can't see herself in the mirror.
I told Anita then, how I'd thought of her as a sort of
composite Pollyanna, Elsie Dinsmore and Elaine, the
Lily Maid. She laughed, her strong, clear laughter. She
said. "The lovely Elaine must have been very lovely, so
thanks for that, anyway. But she died before she had
the chance to grow up. I didn't, you see."
"She died for love, too," I mused. "Would you?"
"Well, I doubt it," Anita laughed again. "I'm sorry
to offend the poets, but I doubt it.
"It is perfectly true, however, that beauty can be, often
is, a curse in this profession. Curious paradox, isn't it,
when you might suppose that in a pictorial medium,
pictorial qualities would be
aces in the deck. But they're
not. I know that when I talk
sensibly, practically, even intelli-
gently, to a producer or a director,
they look at me as though they are
thinking I should have my tempera-
ture taken. I have the horrid fear
that they are going to say, 'There,
there!' and fob me off with a lollilop
or a new dolly.
I'M AFRAID I'm very deceiving, until
people know me well. I'm far from being
fragile. There is nothing finicky and lace
paper valentinish about me, in any way. I
adore big, thick steaks and fried, potatoes. I
never diet. I can, and often do, cook my own
meals. I have no beauty secrets except soap and
water, and plenty of both, on my face. I do my
own nails, usually shampoo my own hair and hang
out the window to dry it.
'T'm pretty economical and save my money. I am
rather extravagant about clothes, not so much for
reasons of personal vanity or indulgence, but be-
cause I believe they are necessary overhead in my
business. I drive my own car, a Ford. I have one
pet, a Scotty named Wee Thistle. I have no hobbies
unless you might call my eighty-year-old piano and my
two-hundred-year-old violin hobbies. I also have an
ancient lute, which I can play. I'm not the languid, chaise-
longue type. I play a decent game of tennis, swim, fence,
"ride.
"I went to the Professional School in New York and
then to the Greenwood School for Girls here in Hollywood
and took part in most of the school sports. And I'd like
to have a part on the screen where I could look as ugly
as sin and thus try to demonstrate that I can do something
more than simper innocently in the pale moonlight.
"I will say that things are looking up for me. I feel
much more hopeful than I did a year or so ago. Hopeful
that I am beginning to convince the powers that be that
I am grown up, know the facts of life, have red blood in
my veins and even a muscle or two. I have the hope that
I can soon say goodbye forever to the sugary, vapory,
moonlight-and-roses sweet young things, like the candy
Miss I did in "First Lady." She {Continued on page 74)
She's blonde, she's heautiful-hut dumh? Meet luscious Louise
28
The gods were in a
generous mood when
they bestowed their
blessings on Anita, for
not only is she lovely
to look at, she's smart
as well! A veteran pic-
ture star at the ripe old
age of twenty, she's set
for bigger and better
roles from now on.
Anita with Victor
Jory, playing one of
those sweet girly-
girly roles she so
abhors, in "First
Lady." Some day,
she vows, she'll go
dramatic in a great
big way.
and draw your own conclusions
Meet the gent who causes a stampede
every time he ventures out in public.
And fifty million women can't be
wrong. This Boyer's got what it takes 1
B0V9R TGLLS
HimSGLF
In "Tovarich," Boyer scores again.
He's shown here in a tense moment
with Claudette Colbert. They make
a snappy-looking couple, what?
Mr. and Mrs. Boyer, in an af-
fectionate pose. The little wo-
man is Pat Paterson, who has
quite a fan-following of her own.
Mr. B., playing truth, tells why women are mad for him, and
men, mad at him - and why he's big enough to take it!
BY GLADYS HALL
I CAME out of Gratiman's Chinese Theatre here in
Hollywood the other night after a preview. Stars blocked
the way of lesser mortals, and as I waited for my car,
there occurred a stampede. A strange monster seemed to
be crawling away from the awninged entrance. It might
have been a bee-hive in slow motion.
Standing on tip-toe, I managed to make out that the
monster was Charles Boyer's car. In the car was Mr.
Boyer. On the running boards, swarming over the roof,
crowding the chauffeur from his seat, were women, girls,
all sizes, ages, types, from red-lipped girls in their terrible
teens to respectable matrons in their furious forties. They
were, indeed, swarming like bees. And it wasn't even his
preview. Something like a roar was going up from the
composite throat of the fevered fans. One -could make
out that they were shouting, "Boyer! Boyer!"
A glimpse of Boyer's face showed that he was im-
pressed. For the smile he was wearing was almost
fatherly, very land, grateful for their interest, slightly
amused. It was a smile totally devoid of the smug look
of the matinee idol who considers that he is getting no
more than his just due.
This was not a new experience to anyone who has
attended premieres, previews, stars' parties, stars' wed-
dings, stars' funerals. Still, there did seem to be some-
thing extraordinarily rabid about this crowd which be-
sieged Boyer. How does he take it? Has he become
conceited about it? I wondered.
A few days later, Mr. Boyer received me in his por-
table dressing-room on the set of "Tovarich." He
apologized because we had to talk there. He regretted
that we could not have met at his home, had luncheon,
cocktails. The dressing-room was so small, uncomfortaWe.
He was so sorry. He was trying so hard to finish in
"Tovarich," he went on. He was still making some retakes
for "Conquest." He was eager to get away to join his
wife who was then awaiting him in Paris.
In the adjoining portable, Qaudette Colbert, who plays
Boyer's wife, the role Marta Abba created in New York,
was having her feet massaged. The soles of her feet.
I know because I peeked. Claudette called out, "Hulloa!
This is what comes of following in the footsteps of
others. I've never done a picture before from a successful
stage play. It's sort of frightening. Comparisons will be
made. Very hard on the feet, or maybe it's just because
I should wear orthopedic shoes, (Continued on page 76)
J I
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^ ^ 3^ o n o
Brian Donlevy knows that the way to gat ions
is to get the gol in the last reell Above, wiih
Tyrone Power and Alice Faye in "In Old Chicago." ^
Brian wants to be a good py,
kt the lovie mopls say "No"
miscHSTinG THG menflce
BY ROBERT McILWAINE
WHEN HEADACHES are in order for the men who
solve picture problems, one of the biggest of the lot comes
while casting "the menace" for those thousands of feet
of celluloid and sound that go into the making of a movie.
It seems that most actors assigned to play the "heavy"
feel that they are being grossly miscast. You see, while
no man is a hero to his valet, every man is a hero in his
heart. Also, an actor wants audience approbation, which
will enable him to build up a following. The way to get
fans is to get the gal in the last reel. If you don't win
her, you don't read fan letters. You simply pass up the
thrill of seeing, "Dear Mr. Glutz: You're so-oo won —
der— ful ! !"
Heading the list of that gentry who is lately foregoing
a personal following, is Brian Donlevy. Not liking this
one bit better than we, who sit in the theatre and, for
forty cents, hiss the heck out of him as he kicks our
favorite in the face, is this same Brian Donlevy. How-
ever, there was a time when things were happier and
Mr. D. is prompt to recall them.
"You know, I caine to Hollywood via the stage," he
reminisced. "On Broadway, I played nice guys and was
completely content in my work. Then, after some years,
I landed the role in the type play that I had waited for.
Perhaps you remember 'Three Cornered Moon'? After
I did that, the movies came along and made such tempting
oifers that I accepted. Had I foreseen my fate as a
34
'menace' I'm afraid that wild horses couldn't have dragged
me west of Hoboken."
Little do any of us realize what is in store for us and,
least of all, Brian, for even as you read this, he is making
"He Was Her Man" in London with Gracie Fields and
Victor McLaglen. On his departure abroad, Donlevy
didn't know whether he was still' to be the menace or if
he would get a break and a little sympathy for a change.
With such a heavy hero as McLaglen, even a miscast
menace must seem endowed with a few of the minor
virtues.
But seriously, Mr. Donlevy likes pictures. He also likes
acting in them. Besides this, he enjoys getting fan mail —
lots of it. He realizes that it is one of the barometers
which gauge a player's success. He used to get plenty
of it; that is, until the Powers That Be insisted upon
casting him as the meanest guy that ever came down the
picture pike. Since he's been cinematically forced to beat
the daylights out of a gent who's not only down, but also
out, he has noticed a great falling oiT in his mail. It
scares him. The public somehow fails to differentiate
between^ the player and the role he is playing.
"Look at Lionel Stander," points out the worried Brian
sorrowfully. "Since he played that skunky press agent in
'A Star is Born,' the poor fellow hasn't worked a day.
And the scene that really did it was one he was called
back to the studio to make, after (Continued on page 71)
R E 1 D
Arm Sothem and Hubby
Roger Pryor have been
apart so much that she
sometimes wonders if he
was even there for the
wedding! But she keeps
her chin up, does Annie,
and looks forward to the
day when things will be
different.
Ann lives alone and loathes it.
But she's got plans for the future!
I'LL SAY that the first year of married life is the
hardest!"
Ann Sothern smiles, but her smile is a grimace of re-
bellion. From a large framed photograph across the
room, Roger Pryor seems to be smiling approval. "No
marriage ever had such a hectic first year as ours had.
"Roger and I went together for four years. During
all that time, neither of us could see anyone else, figura-
tively speaking. Now, speaking literally, we can't see
each other, except at brief intervals over periods of weeks,
and then only after long airplane hops.
"Things started to be hectic the day we decided on
marriage. I had a month's vacation ahead of me. And
I was going to Chicago to make personal appearances.
Roger and his orchestra were about to open at the Col-
lege Inn in Chicago. But, before he opened, he had six
days to spare. He flew out to see me.
"As he stepped off the plane, he said, 'Will you marry
me?' I said, 'But this so sudden, after four years. I'll
have to have time to think it over.'
"That was a Tuesday. Bright and early the next
morning, we went down to see about a license. Cali-
fornia makes you wait three days to get married. And
it seems that the day you register doesn't count as one
of the three. The clerk said we couldn't pick up our
license Saturday. But we both had to l>e in Chicago
Monday morning.
"I had always dreamed that I'd have a church wed-
ding, be able to dress up, and look, and feel, like a bride.
I wasn't going back on that dream now. We finally
persuaded the clerk to make an exception, just this once,
and let us have our license on Saturday, on our solemn
promise not to use it Saturday. It took some doing to
arrange a wedding between Saturday midnight and plane
time. Especially a church wedding. But I had one, and
I had a wedding gown. We were married at twelve-one
Sunday morning.
"We had a three-week honeymoon. And, during that
time, when I wasn't working, Roger was. Fine idea I
had had, signing for those personal appearances to be
near Roger ! He closed at the Inn at three a. m. And
at seven a. m. 1 had to start my day."
At the end of three weeks the personal appearances
were over, but so was the chance for even a daily glimpse
of each other. RKO-Radio summoned Mrs. Roger Pryor
back to Hollywood to be Ann Sothern for a new picture.
She couldn't get east for Christmas. Roger couldn't get
west. Both were chained to their work. And when each
tried to telephone the other on Christmas Eve, the wires
were so clogged with other long-distance calls that it
was six a. m., December 25th, before one of them could
get a call through. And by that time they were so worn
out with waiting that they forgot half of what thev had
intended to say. {Continued on page 75)
35
BY
GEORGE BENJAMIN
Walk il he can ride?
Not clever Warren
William! He'll just
invent something
Warren works so hard in-
venting ways to save him-
self work that he can't find
time to relax any more. Ideas
come so fast, he can't even
sleep nights.
He'd rather tinker than eat.
His machine shop is so full
of gadgets that it looks like
something right out of a me-
chanic's nightmare. And you
should see- his bedroom!
THG GHI
I ARRIVED at Warren William's beautiful, rambling,
two-and-a-half acre estate in San Fernando Valley to in-
vestigate the strange case of Warren William. It has been
whispered, confidentially, that he is a gadgeteer! Now,
there are racketeers, a'plenty. There are pamphleteers.
There are even muleteers. But a gadgeteer is something
new. An inventor who specializes in gadgets.
Warren William doesn't invent gadgets to make money,
however, but for the sole purpose of saving himself time.
He has a philosophy of personal comfort and non-ef¥ort.
If he can invent a device which will save him the lifting of
his little finger that device is invented.
There is something new under the sun, a man with the
William profile and the urge of an Edison and he is worth
a little research.
Born in Aitkin, Minnesota, the young Warren longed,
from childhood, to become a marine engineer. While his
father longed, just as earnestly, for Warren to become a
newspaper man. The war came along and, perversely,
raised the flag of truce between father and son. For War-
ren went to war and was a soldier. And when the war
was ended, reluctant to engage in further family combat,
he did not go honie at once, but remained in France, joined
up with a theatrical troupe touring the army camps and be-
came the white-haired boy of the soldier audiences.
If, Warren felt, he could win, the war-crusted, pain-
deadened heai'ts of the soldiers of the Allies, he should be
IGGTGGR
able to win audiences, far more capable of pleasure. He
came back to America, stopped off on Broadway, got
Richard Dix's role in a road company of "I Love You"
and, before very long, a Broadway chance in Rachel
Crothers' "Expressing Willie."
So, the truest truth in the character of Warren William
is what made an actor of him: his intense dislike of con-
flict of any kind, effort of any kind. He wants leisure.
And a dash of Gandhi non-resistance. It was far easier
just to be an actor than to engage with papa in further
argument.
It was during his early days on the stage that Alexander
W^oollcott branded him for years. He wrote of Warren,
"He has the Barrymore accent in his speech, and a Barry-
more tone in his voice and he looks the very image of the
young John Drew who played Petruchio." Thus, even
after he came to Hollywood, signed with Warner Broth-
ers, stamped his own image on many screens, the legend
of the Barrymore profile stuck to him, took years to shake
loose. Now, under long-term contract to Metro-Goldwyn-
Mayer, one hears no more about it.
AND SO I arrived to beard a gadgeteer among his gad-
gets. At the gateway to the estate a telephone, on what
appeared to be a flexible pulley, dangled within reach of
the hand. One had only to call the house and the gates
would open automatically, with- (Continued on page 69)
Look out, Mrs. William! The result of
this wood-chopping session is apt to be
a pair of roller skates for the dog, or
something. You never know what War-
ren's going to think of next.
When this little number is completed, our
Warren will be riding to the studio in a
dressing-room on wheels, with every
modem convenience, including a bar,
twin beds and a kitchenette.
The problem of having two
screen careers in a family
of two won't break up the
Gladys George - Leonard
Penn marriage. The reason
is iHiusual. Right, as Gladys
appears in "Madame X"
with John Beal.
IS in THE HERRT
Does he really love le? Haven't you ever asked
yourself that? Gladys George knows how to find out
GLADYS GEORGE wears her heart on her sleeve. You
bump into it, right oflf. Slie has none of the customary
guile and wile of her sex. She said to her husband, not
long ago, "You really love me, don't you? I've got to
know." That's Gladys George. The real things she feels
in her heart emerge. She did know, of course, but she had
to l>e reassured.
She has none of the smug conceit which would make
it unthinkable for the average charming woman to ask
a man — let alone a husband — whether or not he loved her.
The average woman would lie like mad rather than let
you think for one moment that there could be any doubt
alx)ut her conquests. But not Gladys George. She has a
bluntness which is brave. She doesn't consider that life
owes her a living. She doesn't accept love passively, as
her just due. She believes that you have to work for a
living, give tenderness as well as thought to love.
She said, "Sure, I asked Leonard whether he really
loves me, even though I think there are some things better
left unsaid. Women talk too much and expect too much.
But there are also times when you just have to take a
sounding and know just what the depths measure. I'd be
no good if I tried to be subtle and clever about my feelings.
If I have any dusty little doubts in my mind, I just
sweep 'em right out of there by talking about them. You
might say that I use the broom of good strong, bristly
words. I just ask what I want to know. That's the only
way to find out — and, incidentally, my advice to you
girls in doubt as to whether or not your beau or husband
really loves you. For if a woman knows she is in a man's
heart, snug and secure, nothing else matters.
"There has been all kinds of stuff written about whether
38
MARTHA KERR
a woman's place is in the home or out in the world. Most
of it has been pretty silly. A woman's place is in the heart
of the man she loves! And if she knows that she is in
his heart, it doesn't matter a tinker's damn whether she
is in the home, in a circus, or in an ofifice."
Gladys continued, "I was jealous. That's why I asked
Leonard what I did." It occurred to her that here they
were in Hollywood, both with screen careers. (Leonard
Penn, you know, has been signed to a long-term contract
with M-G-M following his work in "The Firefly.") Two
screen careers in one little family of two takes some
adjusting. Gladys, then, was jealous. Not of Leonard's
career. She is one hundred per cent for that. It was
what they both hoped might happen when, after "Valiant
Is the Word for Carrie," Gladys was a recognized success
in movies. She has not a smither of professional jealousy.
Gladys George be-
lieves thcrt you have
to give tenderness as
well as thought to
keep love.
If Leonard's. star should rise and her own star, now bright
and high, should wane, it would be jake with Gladys.
She said, "I just think that every woman, if she tells
the truth, will admit being jealous of other beautiful
women. Women who, especially (Continued on page 72)
39
Remember Axme Shirley's scene in "Stella
Dodlas" concerning the ccrtificial flower and the
party dress? There was a tip in smoothness.
TO BE called "smooth" — that's the wistful dream of the
modern Miss ! Dazzling beauty, ravishing prettiness
aren't nearly so desirable. Well, now, that's fine ! For the
achievement of smoothness is within the power of every
girl, every woman. What does it mean, exactly? It has
something of the meaning of the French word, soignee —
well-groomed, smart, literally well-cared-for. But that
doesn't quite cover it, for the word has a special, modern,
American meaning all its own. When I hear it, I think
of streamline cars, a quickness and aliveness which is
typically American, a new sort of subtlety which the
American girl is picking up with amazing rapidity.
The word originated, I imagine, on our college campuses,
where so many words originate. It is applied to men as
well as girls. When a Smith Junior says a Princeton
Senior is smooth, she means, in part, that he dresses not
too casually and always well, that he's a good dancer, but
no professional dancing man, that he can hold his liquor
like a gentleman, that he has good manners and, although
he may be kinda casual about some things which would
have shocked our grandmamas, he never steps over That
Certain Line, and that his conversation isn't all wisecracks
and amusing nonsense. In other words, the gent has a
purpose in life and although he isn't tiresome and stuffy
about it, he can be serious on occasion.
When the Princeton Senior says the Smith Junior is
smooth, he means that she always looks like a million
(and if she's dressing on a skimpy budget, all the more
credit to her), and that her make-up is so well done that it
doesn't inspire his friends to leer as they leave the grand-
stand, that her figure, of course, is good, that she has
sparkle, zest, pep, that she's feminine to her fingertips and
that, while she has her share of sex appeal (or he wouldn't
be interested) she's no obvious siren who has the Cosmic
Urge on her mind every minute of the time. She dances
well, she talks well, she hstens better. She's a companion
as well as a snappy looking number to parade past the stag
line. Which all goes to show what a far distance we've
come since the days when the hot mama was the most
desirable type of date.
A figure is the first requisite for smoothness. That's
obvious. I can't go over the old, old story of sensible
diet again, but here are some dietary tips which may be
helpful to you. If you're only a little overweight, cut out
soft breads, butter, all starchy vegetables and desserts and
cream for one month. Note your improvement at the end
of that time. Then go back gradually and sensibly to a
little butter — half a pat on your green vegetables, a thin
scraping of it on whole wheat toast. Go back later, grad-
ually and sensibly, to the other fattening elements and
cut them out again as soon as your mirror or the scales
tell you that they're doing damage again. Go on the
wagon — entirely — for a month.
Then, thereafter, reserve your occasional indulgence for
real parties. Don't have a cocktail at luncheon or at five
o'clock simply because your friends offer it or because
it's around. Occasional party drinking doesn't hurt you
nearly as much as one apparently harmless cocktail every
afternoon. Married women, don't sit around having that
friendlv highball or two with the husband when he comes
Good grooming, charm and poise spell success lor the stars-and you
40
Merle Oberon as a slant-eyed siren didn't get for,
but as a lady, she's gone places^ And Kay
Francis (left) is the epitome of smoothness. Why?
home from work. It's pleasant, I know, but a bad idea
for the figure.
If you're a little bit underweight, drink a glass of half
milk and half cream every mid-morning or mid-afternoon.
Lie down for half an hour after dinner. Occasionally, on
evenings spent at home, sip a glass of ale, very slowly, an
hour before you go to bed.
As I've said before, we all know good and well what to
do to lose and gain weight. The only trouble is in doing
it. If someone were only around to tell us! This old
stuff about the green vegetables and lean meat and what-
not sounds so dreary ! True. Therefore, I'm going to
include here and now a few diet recipes and ideas — some
for the overweight, some for the underweight.
Overweights, did you ever think of going on a meatless
diet for a month? Meat's getting so darned expensive
anyway that we'll all have to join the vegetarians pretty
soon. Eat plenty of vegetables and go in heavily for cab-
bage, which chases fat. And, say, did you ever eat cab-
bage soup? You think you wouldn't like it? I think
you would. It's very tasty.
Take a head of cabbage, shred it as though for cole slaw,
add some carrots (tiny ones whole, if you can get them),
some onions cut in small pieces, a little minced garlic, if
you care for it, seasoning, a can of tomato juice, two cans
of clear beef broth, and let the whole works simmer
for about an hour. A beaten egg thickens it and gives it
more body, but leave out the egg if you're too, too plump.
Try cold beets with sour cream now and then as a salad
— plenty of beets and very little (Continued on page 78)
BY MARY MARSHALL
41
Fernand Grave! returns
to France each year so
as not to lose that
foreign flavor. You'll be
seeing him in "Food for
Scandal" with Carole
Lombard.
k accent plays a big part
in Monsieur Gravel's suc-
cess, so he's prolecling il
cQcrin
PRSCinflTinG
FRGncHmnn
BY MACK HUGHES
FERNAND GRAVET is so proud of his ancestry that he
intends to remain French, no matter what ! In fact,
Gravet absolutely refuses to stay away from his native
heath for more than twelve months at a time. Of course,
it's easy to understand a man's getting homesick, but can
you imagine a Frenchman who fears becoming American-
ized to the extent of ducking back at least once a year to
inhale a whifiF or two of his favorite atmosphere? Not
that Fernand doesn't like America, y'understand, but he
likes France better, which is perhaps as it should be. And
so, he's taking no chance on losing that intriguing accent
you heard in "The King and the Chorus Girl."
This fascinating foreigner, by the way, satisfactorily
explained the absence of this same accent during the mo-
ments he spends away from the camera.
"You see, when the World War broke out, my family
happened to be in England," he said. "There we stayed
for several years and I was educated in English schools.
Naturally, I picked up the Oxford manner of speech.
However, we are now back in France and Fm very glad.
42
Not that we weren't happy in England, but, you see, re-
turning to our native land, was like getting back from a
long trip."
Speaking of war and its attendant confusion and ex-
citement, Fernand had quite an experience while crossing
the country en route to Hollywood recently.
"In Europe, the newspapers don't go so far with this
war scare as the American press," explained Gravet. "On
my way to California, I got off the train at Kansas City
station to buy the papers and, to my amazement, saw
startling headlines stating that England and France were
about to declare war. Well, I have a mother in France,
so naturally I was frightened at the consequences that
would result from such a situation. Immediately I tele-
phoned to friends in Paris to find out how much time
there was to get my family out of the country. Imagine
my surprise when they informed me that it was the first
they had heard of any war news !
"I was immensely relieved, of course, and returned to
the platform to get my train, {Continued on page 68)
Not much allure in evi-
dence, here. Gorbo was
a schoolgirl when this
was taken, too tall for
her age and violently
self-conscious. She pre-
ferred to be alone.
Something of her elu-
sive charm began to
show itself by the
time Greta was six-
teen, when she was a
shopgirl who dreamed
of being on actress.
ON THE morning of September 18, 1906, in Stockholm,
Sweden, there was born to Sven Gustafsson and his wife, a
daughter who was christened Greta Louvisa, because the
little mother thought it such a pretty name. The coming
of the baby was an additional burden to the already bur-
dened household. Sven Gustafsson was a poor man, alter-,
nating meager salaried jobs with timid, unsuccessful ven-
tures into small businesses of his own. The baby, Greta,
added another mouth to be fed, another body to be clothed
to his little family that already numbered four: the mother,
a son, Sven, and a daughter, Alva.
Number 32 Blekingegaten Street on the southside of
Stockholm, was a drab house on a drab street in a district
surrounded by dingy shops, markets and cheap theatres.
The long Swedish winters only added to its bleakness, but
it was on its slushy, snow-banked lanes that the young
Greta formed her first impressions, toddling after her
mother to market, or being pulled on a makeshift sled by
her brother or sister.
Greta was a long, thin baby; even in the three or four
years of her infancy she exhibited none of that chubbiness
so often associated with milk-fed infants in advertisements.
And maybe that was due to the noticeable shortage of milk
in the Gustafsson household. She was a good baby, slow to
learn to walk or talk, but obedient and easily cared for.
During the years that her infancy lengthened out into
long-legged childhood, nothing happened to her. Greta said
about this part of her life: "I do not remember anything of
my early childhood. Not even those little first gifts of dolls
or colored wagons, which mark the beginning of our
memories. Maybe it is because nothing happened to make
such an impression." No color. No warmth. Only the drab-
ness of Blekingegaten Street and the monotony of its
doings.
At seven she was enrolled in school, the beginning of
active unhappiness in her life. She was, by a head, taller
than the other children in her class, which gave her the
appearance of being older and "backward." Nor did the
hand-me-down garments made over from her mother's
wardrobe do anything toward dignifying her appearance.
In her immediate family circle However, Greta was al-
ways the gay one, the ringleader of the fun. She would
regale them with funny stories and act out imitations of
The Swedish equiva-
lent of a Mack Sennett
Bathing Beauty! Greta
Gustafsson got her
first screen role in a
comedy called "Peter,
the Tramp!"
characters of the neighborhood
with a telling mimicry that kept
the little family in gales of
laughter. But only with those
dear and close to her was it pos-
sible for Greta to express her-
self, a fact which is still very
evident in her personality today.
Greta adored her sister.
Though Alva was older, she was
smaller than Greta Louvisa and
the latter constantly referred to
her as "my little sister," babying
and serving her. It was her chief
delight to make up stories for
Alva in their bleak, bedroom
after they had been put to bed at
night. All of the people of
Greta's stories were rich and
daring and most of them were actresses who played ex-
citing command performances before crowned heads.
At fourteen Greta was as taU as she is today. Sensitive-
ness, in regard to her height, was almost a fetish with her.
Because of it, she gfew less inclined to iningle with young
people of her own age. Of boys, she was terrified. Self-
consciousness retarded her every mood and made her far
more awkward than was natural. She grew to dread the
walk to her school, darting frightened eyes along the way
lest there be someone lurking to titter at her pronounced
ungainliness.
They did not like her at school and because of that she
uttered a philosophy to which she has clung in her con-
sciousness ever since: "AH I want is to be left alone.'-'
Out of aloneness she made up the substance of her early
teens. She read a great deal, particularly stories pertaining
to actresses and their roles. Coincidentally, in view of her
later ideas, the personal lives of actresses did not interest
her at all. The actress was the part, the part, the actress.
Only of their glamor did Greta partake, the glory of their
art. Perhaps that is why Greta has never understood why
people are interested in her own private life, why they are
not content just to know her as Garbo, the actress.
In the early Stockholm twilights she loved to slip out
Our Greta is wearing a
chic little hat which
she designed herself
during her modelling
days in a Stockholm
deparhnent store. So
fetching did she look
that she was often
asked to pose for ad-
vertising photographs
and fashion films.
And here is the "little
sister," Alva, whom
Garbo so adored, and
who died while Greta
was in Hollywood seek-
ing American approval.
Her passing was one of
many personal heart-
breaks which come to
Garbo during her early
years as a film star.
and stand in the shadow of the Southside Theatre, near her
home, and watch the actors arrive for the evening per-
formances. Once, while at such an exciting vigil, she caught
sight of Lars Hanson and his beautiful wife, Karin Holan-
der, stars of the Royal Dramatic Theatre. Greta knew them
immediately from their pictures in the papers. The great
Lars! The glorious lady, his wife! Such proximity to
greatness almost made her faint. ^ Probably her thin, un-
gainly form would have completely slipped over had she
realized that not so many years in the future this same
great Hanson would be supporting her in an American-
made picture, "The Divine Woman." On another occasion,
she saw Victor Sjeastrom, the great matinee idol, with
equally exciting reactions. (Seastrom, as he is known in
America, has directed Greta.)
When she was fourteen, still a student in the district
school, real tragedy first touched Greta's life. Her adored
father died. She grieved so deeply that her thin, pale face
grew more wan than ever, and for months the family
feared for her health. It was only with the realization
that the little family was left without a protector and on its
own resources that Greta was able to pull herself together.
Something must be done. Someone must do it. Though
both her sister and brother were her seniors, Greta seemed
to feel the responsibility to be entirely her own. "I am
going to work," she said. "There will be no more school."
A Swedish correspondent records the information that
Greta took a job as a barber's assistant, her particular task
being to lather the faces of the gentlemen patrons with
soap, while the barber sharpened and prepared his razors.
This was followed by several temporary positions until
finally she went to work in the hat department of the
Bergstrom Department Store.
Her career began here one day. Greta did not seek out
fame at first. It came for her, arriving in the unsuspecting
person of the advertising manager. An important person,
the advertising manager.
"Bring all the hats and come with me," he instructed,
and led her across the street to a photographer's gallery.
Two days later the millinery department was agog with
excitement. "Look in the papers! See all the pictures of
Greta Gustafsson wearing the hats," one clerk told another.
Word went through the fetore. Clerks, from other depart-
ments, drifted by to get a look at her. It seems her pictures,
modeling the hats, had been used in a big advertisement
featuring the store's millinery. It was Greta Gustafsson's
first taste of fame and probably the only welcome one of
her entire life, as later events proved.
iiiiliiiiiiiiilili
iM,3l> liiji;;!;!;:;!
Glomorjjegins to definitely creep into
the situation in "Gosta Berling/' the
fikn which won the plcmdits of Europe.
Gerda Lundquist is shown with Garbo.
Svengcdi cmd his Trilby set sail. In
other words, the late Maurite Stiller
brings Garbo to Hollywood, not that
Hollywood, in those days, cared a hoot
THE SIXTEEN-YEAR-OLD Gustafsson girl had to content
herself with that first flare of publicity however, for there
were no more engagements to pose in the hats. But for the
moment, it was sufficient. The little spurt of publicity died
down. The business of selling hats went on for a while.
It was not until six months later that one Captain Ring,
who made a business of making in-
dustrial or advertising films, con-
tracted with the store for a film fea-
ture showing some of the new
fashions modeled by girls in the
store. Greta was called and posed in
riding habits and other models, for
the film was to be shown in various
and sundry Stockholm theatres.
One day the inspired film was
thrown on the screen just before the
preview of a comedy directed by
Eric Petschler, the Mack Sennett of
Sweden. "Who is that girl?" asked
Petschler. Np one knew. "She has
personality," he said. Greta Gustafs-
son so thoroughly impressed Petsch-
ler that he looked up Captain Ring
through his advertising agency and
obtained the name of the tall, blonde,
good-looking girl, and her address.
One week later he called at her
home, just as Greta arrived from the
store, and offered her a chance in a
series of bathing girl comedies he
was about to put into production.
Greta's first picture was a rowdy,
slap-stick affair called "Peter, the
Tramp," and it was her part to romp
about in the company of several other
girls much in the fashion of a Sen-
nett bathing beauty. As an acting part, it was nothing; but
so sincere was Petschler's interest in what he termed the
girl's unusual personality that he kept her as near the
camera as possible, allowing her to share in close-ups with
the star. She was getting a real break.
One valuable friendship she made was with Frans En-
wall, former instructor at the Stockholm Dramatic Theatre.
To him she confided her ambitions, and he, feeling a
On your mark. Greta, the
gun's about to go off!
Garbo was told to pose
for this publicity picture!
genuine interest in this frightened but eager young novice,
arranged a test for Greta at that theatre. One month before
her seventeenth birthday she passed that test.
"I shall never forget that awful agony of going out
before them," Greta confided to a 'friend. "I have always
suffered in the presence of strangers, and these strangers
held my fate in their hands. I felt
ill and weak in the knees. I thought
I was going to faint when they called
my name and I realized it was my
turn to speak the lines I had Ifeamed
for my test. Only the thought of my
mother, sitting at home, tense with
anxiety and love for me, made it
possible for me to move. In a trance
I stepped to the middle of the stage.
I heard a voice saying familiar lines.
It did not sound like my own. Some-
how or other, I finished. But the
effort had been too much. Once I
was back in the wings, I fainted
away."
Greta passed that test imme-
diately, but she did not know thiS;
for three days. They were days of
agony. She was sure she had failed.
Otherwise they would have notified
her! Even her family could not re-
assure her. She spent hours pacing
the floor, sipping at cups of steam-
ing coffee, waiting for the word that
meant so much. When it finally
came, her shattered nerves gave way
completely and she cried as though
her heart would break.
For two seasons, 1922^1923 and
1923-1924, she was a student in the
theatre. She worked^hard, putting her whole heart into it.
The shadows were far between in those days, the sun-
shine abounded at every turn. It burst forth in a flood
when Greta was notified that she had been engaged as a
student under contract, at a salary of forty dollars monthly.
There were courses in elocution, voice training, fencing
and gymnastics. She played many parts. Hermione in
"A Winter's Tale" and minor roles in important plays.
Ricardo Cortez seems to be badly smit-
ten in this scene from "The Torrent."
Garbo's first American picture. De-
spite misgivings, she rocketed to fame.
Nothing light and gay about tlus love
scene from "The Temptress." Antonio
Moreno means business and La Belle
seems to be taking him setiously.
The most outstanding of these was called, "The In-
visible Man" in which she played a derelict not unlike her
role in "Anna Christie." Her vocal teacher, Karl Mygren,
declared that Greta's voice showed "a nice depth and
resonance."
Mauritz Stiller came into Greta Garbo's life through the
abruptness of a telegram. She had never seen the man,
although his fame was renowned through the Swedish
studios. Stiller was the Griffith of Swedish pictures and
to this student at the dramatic school, a girl who had never
^seen him, he wired: "If interested in film work please
interview me at ," giving the address of his home.
This was the Spring of 1923.
Of this meeting with the man who was to be such a
tremendous influence in her life, Greta said, "It was so
strange. When I arrived, he was not there. I waited,
full of fear in the great shadowy hall of his fine house.
At last he came in, he and his huge dog. I trembled.
He watched me so strangely — though he did not appear
to be very interested. He questioned me after the routine
fashion. How old was I? What experience had I had
besides the school? I answered to the best of my ability.
I did not feel I impressed him, although he said at my
departure, 'At the first opportunity I shall remember you.', "
It was in February, 1924, that Stiller once again com-
municated with Greta Gustafsson, as suddenly and unex-
pectedly as before. But this time, when Greta was ushered
into the presence of the great Stiller, fear had left her.
She was reconciled to the idea that fate was arranging the
outcome. This great, shaggy, homely man was seated
behind his desk and once more she felt the power of
those analytical eyes on her, which seemed to be dis-
secting her very being.
"I think," he said at last, "that I do not like your name.
It is too long." To anyone but this shy girl, that alone
would have intimated the plans Stiller had in mind for her,
but to Greta it was just another proof of his lack of
interest. "From now on, we shall call you Greta Garbo.
How do you like that name?"
She nodded her head mutely, hardly hearing the name
he had bestowed upon her, a ^name that was to circle
the world as a synonym of ronoance and glamor. Thus did
X Greta Gustafsson become Greta Garbo!
Stiller had arranged a test for her, although he did
not confide even the barest details of what she was to do.
Once on the set, with the cameras set up and ready to
grind, he pointed to a bed in the corner and said, "Lie
on the bed, you are desperately ill. You are close to
death. Let me see you do this."
She was seized with an absurd desire to laugh. She,
the meek, frightened, nobody, Greta Gustafsson, no
"Garbo," was about to laugh at the great man, Mauritz
Stiller. Flinging herself down on the bed, she gave way
to her mirth, treating the direction as a joke. Suddenly
Stiller was standing over her, those fierce, piercing eyes
boring into her.
"Do you not know how it feels to be terribly ill?" he de-
manded sharply. "Do you not know what physical suffer-
ing is?"
Because she was frightened of this man who seemed to
be so fierce, her giggles gave way to physical trembling.
She was subdued^ and receptive to his mood. She could
feel those eyes as she tossed about in "illness," for his
test camera. Suddenly she knew the cameras had stopped
and that Stiller had left the stage. Wearily she arose and
began wiping the studio paint from her face.
IT WAS an assistant who informed her that she was
cast by Stiller in his most ambitious picture, "Gosta
Berling," to start within the week. At eighteen, Greta
had taken the first step up the ladder that later was to
lead to fame as no other film player ever enjoyed it.
"Gosta Berling" was the first inkling of what that fame
was to be. Europe went quite mad over the new Stiller
picture and the name of that strange girl, Greta Garbo,
was on everyone's lips.
In the meantime, the great friendship between the girl
and her director was growing. Those who knew Stiller
well have no doubt but that the morose and difficult
man knew a deep love for his protegee almost from his
first meeting with her. To Greta, Stiller was the first
important masculine influence in her life, and for this
man who discovered her and made dreams come true, she
had a reverential devotion. Whether or not it was con-
sidered a grande passion on her part, I do not know.
In Greta's Hollywood home there is only one framed pic-
ture of a man. It is of Mauritz Stiller, and it rests on
a small table in her bedroom.
Immediately following "Gosta Berling," Stiller signed
to do a picture with a Russian-Turkish background, a
Oh, Mr. Hays! Garbo and the late John
Gilbert were in love off the screen as well
as on while "Flesh and the Devil" was be-
ing filmed, which explains the realism dis-
played in this little huddle.
venture that proved to be disastrous — and found his com-
pany, consisting of Greta and Einar Hansson, stranded for
the Christmas holidays in Constantinople. The picture was
never finished. The backers were completely bankrupt
and the sorry little troupe returned to Berlin. Here Greta
accepted a role in a German-made picture called "The
Street of Sorrow."
Stiller's fame had spread to the film industry of Holly-
wood and Louis B. Mayer saw promise in the man who
had directed "Gosta Berling." He cabled Stiller to the
effect that he wanted to contract him for American-made
pictures. Of the girl, Greta Garbo, he said nothing. "At
least not much" is the way Greta refers to Mayer's initial
interest in her. But Stiller was insistent. If he came to
America, Greta Garbo must be contracted, too. Mayer was
not interested in Garbo, but he was vitally interested in
Stiller. If these were Stiller's terms, well and good. The
There's no doubt about it, she's terrific! Even
Conrad Nagel, a calm enough individual, went
haywire over her in "The Mysterious Lady."
She was plumper in those days, you'll note.
girl could probably be put on a small salary, a deal which
eventually went through on the terms of four hundred
dollars per week the first year, six hundred dollars the
second and seven hundred and fifty dollars the third, if
they retained her that long.
Their boat, "The Drottningholm," sailed from Gothen-
burg, Sweden, in the early hours of a foggy morning.
Her mother, her beloved sister (whom she was never to
see again) and her brother gathered together to bid her
farewell.
Greta first saw the New York skyline by night. It
impressed her, yes, but it also terrified. There was some-
thing stupendous in its outline that was foreign and strange
to her comprehension.
Newspaper reporters crowded about both Greta and
Stiller. The chief interest of the press was centered in
the director, however.
Stiller and Garbo did not immediately entrain for Holly-
wood. There were several affairs concerning their contracts
to be taken up with the New York representatives of
Metro-Goldwyn-Mayer. This caused a delay of a couple
of months.
Finally all arrangements were completed and Stiller and
his protegee departed for Hollywood.
When she finally^ arrived on the coast, Greta lived in
an apartment not far from Hollywood Boulevard. Then
she moved to the Miramar Hotel, a huge, rambling place
6verlooking the bluffs of Santa Monica where for the first
time she began to believe something of the beauties of her
new home.
For the most part she was free to walk along the sands
of the beach, lonely, unknown, unhappy. Usually she
lunched at some wayside stand on a glass of milk and a
sandwich.
In the evenings Stiller always joined her and they
dined at out-of-the-way tea rooms, talking over what in-
formation he brought with him from the studio. Then they
would walk, or perhaps visit a picture show together.
The same ^ loneliness she had known in her childhood
descended on her spirit and engulfed her.
AT LAST the exceedingly slow studio wheels got into
motion. It was decided that Greta's first picture should
not be under the direction of Stiller, but with Monta
Bell. The picture was "The Torrent," originally slated
for Aileen Pringle, but given to Greta as a test of her
ability. It would prove her an actress or not.
Greta certainly got around, cinematically
^ speaking. Nils Asther was the gent in
"The Single Standard." He had a yacht
and everything, to lure our heroine.
Greta was dismayed at this change in plans. Not to
be directed by Stiller? To be thrown on what she believed
to be the unfriendly guidance of a man perfectly strange
to her, a man who did not speak her language, nor under-
stand her abilities? She would have definitely rebelled if
Stiller had not intervened. He advised her it was the best
move to make.
"The Torrent" was a Spanish costume picture. It was
begun in the fall of 1925 and it is hard to tell who had the
most misgivings — Bell, the studio, or Garbo herself. The
studio employed a young fellow from the Swedish con-
sulate, Sven Hugo Borg, to act as interpreter so that the
director might be able to tell the full meaning of her
role. But this well-meaning attempt made the bewildered
girl only more self-conscious. One thing it did, however,
was to inspire Greta with a feverish desire to master the
English language.
In due time "The Torrent" was released. Stiller and
Greta attended the preview at a small house at Santa
Monica. About her she could hear people whispering,
"Who is this Garbo girl?" It pleased her, but for final
praise, she awaited Stiller's word. "It is good," he said,
and those three encouraging words were sufficient.
Her second picture, "The Temptress," was to be made
with Stiller, as he had arranged. At the beginning it held
limitless promise of happiness for them both. Before it
was completed it had dealt tragedy.
The first blow fell two days after it went into produc-
tion. Mauritz Stiller, unfortunately, had not yet mastered
the American method of making pictures. Handling crowds
gave him trouble, and his lack of English made every
move difficult. Fred Niblo was put to work on the pro-
duction!
Stiller was heartbroken, he was crushed, but even
he did not suffer as Greta did. The story they had
talked and planned over as their first American triumph
together turned to ashes in their palms. For the first
time in their close association, it was Greta who consoled
and counseled Stiller, who listened. He was to take more
time learning American methods, everything would come
out all right.
Those who had the fortune to know Mauritz Stiller,
in intimate friendship, say that he never drew a happy
breath in America after that day. He did not fail. Later
with telling success he was to direct "Hotel Imperial" with
Pola Negri, "The Confessions of a Woman" and "Street of
Sin" with Emil Jannings. But it was the beginning of the
Greta in a cajoling mood. John Gilbert
doesn't look as though he wanted to give
in. either, in this scene from "A Woman
of Affairs." one of her best pictures.
shattering of his spirit which, they say, brought him to a
heart-broken death in Sweden a few years later.
THE SECOND disaster to occur during the filming of
"The Temptress" was the death of Greta's sister. It was
the crowning heartache of a picture that had been ill-
fated for Greta since the starting crank of the camera.
"My little sister," Greta said dully when the news was
broken to her. "My dear little sister."
She turned to her work for solace. She was the first
to arrive at the studio, the last to leave. She remained
A gal's best friend is her mother, or so
they say. and evidently Garbo believes
it! No one but Ma could conunand
such a smile as the star flashes here.
on the set even after her scenes were finished for the day,
watching the other actors, discussing next day's work
with Fred Niblo.
Before the picture was out of the cutting-room the
studio officials knew what a prize they had in Greta Garbo.
Los Angeles went mad about her at the preview, as did
every other place. It was arranged that she make a per-
sonal appearance at Loew's State Theatre during the run
of the picture. It was explained to her that she was to
wear evening clothes and take a bow from the stage.
She did not like the idea and said so. Always, she has
fought for privacy. But they begged. She made her final
stand: "I have nothing to wear." But they would remedy
that. She should appear in the loveliest gown of the studio
wardrobe. At last she consented.
So it was in borrowed finery that the girl — too awkward,
too badly dressed to attract attention by her natural per-
sonality— met an American audience over the footlights
tfor the first, and last, time and swept them off their feet
in enthusiasm for Garbo.
"This I shall not do again," she told the publicity men
driving back from the theatre.
FOLLOWING "The Temptress," Metro directors began
to vie for Greta Garbo's services in their pictures. Clar-
ence Brown was preparing work on "Flesh and the Devil"
for the screen and he wanted Garbo for the role of the
woman. The late John Gilbert was to be the male star, and
Greta's old friend from Sweden, Lars Hanson, was to play
the friend. With such a cast. Brown believed he had a
super -picture.
"This picture needs Garbo," he insisted to studio officials.
But at first they were not sure. Brown used every argu-
ment, and at last he was permitted to have his way.
John Gilbert was at that time monarch of the movie
world. A dashing, restless personality, he was more like
a high-strung boy than a grown man. He was warm,
impulsive, outspoken and friendlier-than-a-pup. Iij short,
he was everything Greta Garbo was not.
At first Gilbert had not known of Garbo's existence.
When she arrived on the lot she was new, awkward, not
pretty in the Hollywood sense, and aloof. But soon he
began to notice her. "That lady is most attractive," Gil-
bert once laughingly remarked to a friend, "but cold."
When the announcement came that Gilbert and Garbo
were to do a picture together, Hollywood was intrigued.
"A study in combustible frigid air," one wag put it and
the rest sat back waiting for the explosions. Naturally
Gilbert would be attentive to her. Gilbert was attentive
to all women. However, it was known that Greta dis-
couraged all attention other than Stiller's, and it was ex-
pected that their (John's and Greta's) association in a
picture would prove interesting.
"Flesh and the Devil" was begun, and in place of the
temperamental explosions, the two strangely mated stars
got off to an immediate and surprising friendship. Gilbert
was not to be put ofi by Garbo's show of illusiveness or
her evident desire for privacy. He talked to her contin-
ually. His laugh rang out joyously and boyishly as they
talked between scenes. Always his manner towards Greta
was flattering and attentive.
To the lonely and heartsick Garbo, who still grieved
over the death of her sister, he was a tonic. He joked
where she knew no jokes. He was color and life, where
she knew only depth and suppression. Soon it began
to be whispered about that Garbo was laughing with
Gilbert, that Garbo was lunching with Gilbert at the
studio cafe. At that time, she said of him, "John Gilbert
is a wonderful man. It is fun to be around him." It ^as
more than fun to her. Those who know Greta say that if
Gilbert had not come into her life at this time, she would
have forsaken her American screen career. He was the
first spot of warmth in her life since she had left Sweden.
SOON IT began to be known that Gilbert was calling
on Garbo at her seaside hotel. "But what of Stiller?"
mused the gossips. That is a question that has never been
fully answered. No one was close enough to any of the
three to know except by their lips, and the trio was silent.
John Gilbert never made any secret of the fact that he
was madly in love with Greta Garbo. What might have
started as an interesting flirtation, developed into a grande
passion on his part. To people who came to talk to him of
himself, he talked of Garbo. "A divine woman," he said;
"The most amazing woman I have ever known."
And Greta, was this love to her? Who knows? Certainly
she went out of her way to please Gilbert, to entertain
his friends, to try to become one of the gay circle his
personality drew.
The girl who had been so timid, boldly took up a new
mode of living, if not for his sake, at least at his side.
For the first time she entered into social life as it is known
in Hollywood. Gilbert and Garbo attended first nights.
Gilbert and Garbo dined together in popular cafes. Their
close friends were the late Lilyan Tashman and Edmund
Lowe, Eleanor Boardman and King Vidor. With Eleanor
and King and Jack, Greta played tennis on Sundays and
was proud when she made a good play. "Look," she
would call to Gilbert. "That was a very good shot."
Once, at a football game, Greta, Gilbert, Lilyan and
Eddie Lowe sat in front of me. Greta wore a magnificent
sable coat and sat like an unthroned Queen on the rough
wooden benches. She did not understand a move of what
was going on in the field below. But she simulated interest.
It began to rain. Gilbert did not notice. He cheered
hoarsely until the last touchdown. Miserable, cold and
wet, Greta said no word about leaving, merely attempted
to cover her coat with sheets of the funny paper.
Greta began to resent the widespread insinuation that
she did not dress well. To Lilyan Tashman, "the best
dressed woman" in Hollywood, she appealed for help dur-
ing shopping tours. It was not an unfamiliar sight to see
Garbo laughs as
though she really
means it in this re-
cently taken photo-
graph. Only those
who know her in-
timately ever see
Greta like this, but
it proves she can
be vivacious
enough when she
wants to be.
She walks alone
and likes it. Living
up to all those
stories you read
about Miss G.. here
she is. big as life,
all done up in man-
nish tweed and set
for a hike. This time
it's in New York
City on her latest
return from Emope.
Lilyan and Garbo in the more ex-
clusive shops on afternoons they were
both free from the studio.
GRETA and John quarreled fre-
quently. Clear sailing even for a little
while would be impossible to natures
so radically opposed as theirs. For
the most part they were nothing more
than sweetheart quarrels. They would
part bitterly, vowing never to see
each other again. Gilbert would stalk
to his home, and ten minutes later he
'would be talking penitently to Garbo
over the telephone.
Once a quarrel assumed more seri-
ous proportions. The Beverly Hills
police were electrified one midnight
when Gilbert, of his own accord, but
obviously acting under great excite-
ment, strode into the jail and asked to
be locked up. One story has it that
he was flourishing a revolver. He
spent a floor-pacing night in jail and
was released the next day. The studio
did everything in its power to hush
the incident but gossip leaked out.
The most accepted story, but never
verified, was that Greta had been din-
ing with Gilbert at his home when
they launched forth on one of their
numerous quarrels. Greta telephoned
Stiller to come and get her. In spite
of Gilbert's violent protests she left
with the Swedish director. And with
all the impulsiveness of which a na-
ture like his is capable, "Gilbert did
one of his crazy things." It was soon
forgotten.
"Flesh and the Devil" was a tre-
mendous box-office smash. Every-
thing combined to make it so. First,
the high voltage power of the com-
bined names of the stars. Secondly,
the buzzing gossip that linked their
names in romance. Here was drama —
and the world was starved. Every
whisper concerning them was spread
by newspapers and magazines. It
was said that Gilbert and Garbo had
eloped — at least as far as a Justice
of the Peace — and then Greta had
changed her mind and decided she
did not want to be married. Every
move they made was watched lest
they steal a march on the wary re-
porters.
In place of a marriage she supplied
them with another kind of a sur-
prise. Greta broke relations with her
studio.
The company had planned a picture
for her called, "Women Love Dia-
monds." Greta read the script and
found it wanting. She did not care
to become identified with vamp roles
and this picture featured a decidedly
sirenish character. She argued with
the studio officials, striving to make
them see her point of view, but they
were insistent on the story. Finally
after she had said all she could, she
merely rose and walked out! Here was the source of the
famous "I tank I go home" story which has been so thor-
oughly circulated about her.
For seven rrionths she was taken off salary. The loss
of a . weekly check did not matter a great deal to Garbo.
She had always been rigidly economical, keeping a record
of all expenditures in a little black book and carefully
checking them at the end of each week. Even now Greta
allows herself just so much for household expenses, clothes,
medicines and incidentals.
When terms were eventually reached through Harry
Edington, her agent, and the studio lawyer, Greta drew
a gilt-edged contract that was a nine day wonder in
Hollywood.
TRULY Greta was glad this war was at an end. She
had been restless and now she was back at work. "The
Divine Woman," based on the life of Sarah Bernhardt, was
selected for her first picture under the new contract. To
the Great Greta, who had been that timid, ambitious
student, tip -toeing into classes at the Dramatic Theatre
in Stockholm, worshipping at the shrine at Bernhardt,
this opportunity to interpret her idol's story was a great
thing. She read avidly of the life of Bernhardt to bring
into the role the fiery interpretation she believed it called
for. Her leading man was Lars Hanson who, with his
reverence of the Divine Sarah, helped Garbo immensely.
They both approached the picture with almost religious
awe.
"Love," based on Tolstoi's "Anna Karenina," brought
Gilbert and Garbo together in another screen appearance.
Rumors of their romance flourished anew. The fans wanted
more of the two as a team but the effulgence of the Garbo
stardom was too bright. Each new picture increased her
fame. There came "The Mysterious Lady." Then, "Wild
Orchids" in which she was cast opposite her friend and
countryman, Nils Asther. She also did "The Single
Standard" with him. In her next, Greta was again with
Gilbert — "A Woman of Affairs," which was adapted from
Michael Arlen's famous "The Green Hat."
In the meantime, somewhere along the road, Mauritz
Stiller had completed a Paramount contract, and although
another was offered, he declined to accept and gave as his
reason that he was returning to Sweden. Legend has it that
America broke Stiller's heart. He was a Svengali without
his Trilby. He returned to Sweden a dispirited man.
It was during the .filming of "The Single Standard"
that news of his death came to Hollywood and Greta.
Garbo's grief for this man who had meant so much in her
life was genuine and touching. Perhaps for the first time
Greta realized what Stiller's complete loss meant to. her.
She said later when questioned about him, "Everything
I have in life, I owe to Mauritz Stiller."
She grew lonesome for Sweden as her original mood
again descended on her. Lonesome and homesick for her
own people. "I must go back," she told the studio ex-
ecutives. "I cannot bear it if I do not go back."
IT WAS the desire of her proud studio to make her trip
a testimony, and so a triumph of receptions were planned
along the way. But Greta would have none of it. "I want
to go back," she begged, "as I came," She even retraced
her train route, disguising herself from recognition and
keeping to herself.
Her boat eventually docked at Gothenburg, the same
harbor from which Greta had departed. There was no
chance for her to deny herself to the thousands of ad-
mirers who crowded the pier waiting for her. She did not
want to. She waved to them— threw kisses. These were
her people and she was home again. Straight away, Greta
flew to the arms of her mother and with a police escort
they fought their way to a taxi. Before they reached
"Take it from one who knows, kid," The late
Marie Dressier gives a little advice to Garbo
in "Anna Christie." Greta's first venture into
the talkie field.
There's nothing like the country to breed ro-
mance! At least that's what Clark Gable
hopes in "Siisan Lenox, Her Fall and Rise."
Greta seems to like it there, too!
their destination the taxi was practically wrecked by the
wild enthusiasm of the crowd. Stockholm went mad!
Reporters from every Swedish paper secured lengthy
statements from Greta, and she refused herself to none
of them. After several days at her mother's house the
melee and confusion of so much attention drove her to
take an apartment at Karlhergsvagen No. 52, where she
remained for the duration of her visit.
The first hour she was in the apartment sthe telephone
rang sixty times, calls from her admirers who merely
wanted to hear the voice of their idol.
Greta gave herself freely to the people of Stockholm.
Nightly she dined in popular cafes and attended theatres.
By day she visited the film studios, renewing old friend-
ships, making new ones. For a few days she was the guest
of Count and Countess Wachmeister, at Tistad Castle,
south of Stockholm.
But the real purpose of her visit was to be with her
mother. Often Greta would come up behind her and fold
her arms about the woman she loves so deeply. "Now I
am truly happy," she would say. The tenderest memory
of her visit was when she and the little mother together
went over the old family album showing pictures of the
beloved sister and daughter, now gone, never to know the
great fame that had come to Greta.
In America the rumors continued concerning that Gil-
bert-Garbo romance. It was said he was cabling Garbo
daily. It was said he had heard of the attentions of a
Swedish Prince to the lady of his heart and that he planned
to go after her and bring her back his wife. But sud-
denly all rumors of Garbo and Gilbert were silenced for
all time. John Gilbert was married to Ina Claire, in
Las Vegas, Nevada.
On March 9, 1929, Greta Garbo once more embarked
i
Beware, she's danger-
ous! Men seldom
dared moke passes at
"Mata Hari," though
to look at her in this
get-up made it pretty
tough to keep distant.
from Gothenburg, tearing herself from the arms
of her mother and began the return trip to Holly-
wood. They say that before she left she journeyed
alone to the grave of Mauritz Stiller and there
placed a wreath.
SHE RETURNED to Hollywood and began a
silent picture, "The Kiss," under the direction of
Jacques Feyder. Everyone wondered what Garbo's
fate was to be. Garbo was the undisputed Queen
of the silent screen, but the screen was no longer
silent. The Chattertons and the Jolsons were arriv-
ing from Broadway and new thrones were being
erected.
As always in the times of confusion and trouble,
Garbo drew more deeply within herself. She did
not return to the seaside hotel, but rented a modest
bungalow in Beverly HiUs. She bec£ime as aloof
and immune as she was in the first days of her life
in Hollywood. It is said that she and John Gilbert
passed each other oiie day at the studio and did not
spe'ak.
Here is a statement Garbo is recorded to have
made: "Love is not really dramatic. It is what is
behind love and romance that gives us the greatest
emotions. I don't know what the greatest emotion
really is ... I wonder. It can't be hate, for hate
is not a decent feeling. One should not hate. I
don't believe any great thing has ever been accom-
plished with hate as a theme. Perhaps sacrifice is
the great emotion. It is a big part of love. I guess,
after all, the greatest emotion we have is just
life — life which includes all the emotions there are.
Marriage? That is not for me. I shall never
marry — anyone!"
And if Garbo feels just a little bit confused about
the greatest emotion one can experience, she is most
And here is one of Garbo's favorite
portrait studies. After taking a good
look at it, we can't exactly blame her
for liking it.
jtainly emphatic in her belief that she "will never marry
anyone!"
As Greta's professional fate began to hang dangerously
the balance, and "The Kiss" was released without stirring
he attention usually accorded a Garbo picture, she went
seriously to work to master the English language.
It had been said that perhaps Garbo would be able to
weather the storm by continuing with silent pictures. Her
popularity was so great she might, accomplish this. But
Greta, herself, knew which way the wind was blowing.
It was decided that her first talking picture should be
"Anna Christie," the most important reason being that the
character, Anna, spoke with a Swedish accent.
It was a momentous occasion — that first morning on the
set. The doors had been closed against all intrusion. Clar-
ence Brown paced restlessly back and forth. Marie Dressier
sat in a corner mumbling her lines to herself. Even the
"props" and "grips" were imbued with the solemnness of
the occasion. It was like a death hush.
At last Greta arrived. She strode briskly onto the set
followed by her maid. She seemed gay, almost amused.
Whatever panic she felt failed to show through. With mock
sadness, she gazed about her.
"What is the matter?" she asked cheerfully. "What is so
sad?"
"We shall rehearse . . ." began Brown nervously.
"No," said Greta, "we shall not rehearse. If it is to be
as bad as all this, we will do the scene immediately — and
get the worst over with." She stood for a moment taking
one last look at her lines. Then she pulled the shabby hat
of Anna to a more rakish angle, stepped before the micro-
phone and began to speak.
"Gimme a drink of whiskey — ginger ale on the side—
and don't be stingy, baby!"
On and on she talked. The scene ran almost nine minutes,
an unusually long "take." At the end, Clarence Brown
stopped the cameras and called for a "play back."
_ Everyone waited as the scratching of the loud speaker
overhead presaged the coming of the "wax" or temporary
check-up record of the scene. Then came the deep, vibrant
Garbo voice in its first recording!
Brown smiled, a smile of mingled relief and elation. All
over the set, electricians, prop boys, cameramen and script
clerks looked at each other, faces beaming.
Garbo could talk! And how!
"Anna Christie" broke all records. It proved beyond a
doubt that this lonely girl was still the Queen of the screen
— talking or silent. Another star, another type of woman
might have accepted this triumph as the signal to rightly
take her place as the leading figure of the films.
But Greta remained a woman secluded. She became a
woman of legend and conjecture, and so great was the
demand for any bit of information concerning her, that
she became the victim of a most relentless pursuit by the
press.
Greta learned to fear to step out of her own front door.
For two days she paced the floor madly, while a deliberate
and cool photographer on the other side of the street set
up his camera and trained it on her house. Often she
would look from her window to behold a slinking figure of
a reporter hidden behind a bush or a tree. It angered
Greta. In fact, these reportorial tactics did much toward
defeating their own purpose. Garbo looked on these
journalists as molesting spies attempting to bully her into
press interviews. She complained to the studio that the
methods which reporters took were underhanded and
shoddy.
Garbo's second talking picture, "Romance," adapted from
the successful stage play of Doris Keane's, was started at
the studio. It, too, was a dialect picture, this time the
accent being Italian. "Will I never be able to speak
English?" Greta asked in mock despair.
• But she really loved the story of "Romance." It brought
her back again to the world of illusion and grandeur, which
is really the most suitable background for her personality.
Greta liked the power and sweep of the role of "Anna
Christie," but she feels her true medium is one farther
removed from grim reality. Perhaps it is because Greta,
herself, has from childhood worshipped at the shrine of
all that is glamorous and romantic in the drama.
AFTER "Romance," Greta made\ "Inspiration," "Susan
Lenox — Her Fall and Rise," "Mata Hari" and "Grand Hotel,"
in quick succession. Of this group, "Mata Hari," was the
only picture to have any real bearing on her personal life.
She met Ramon Novarro, who played opposite her in the
picture, and who, during the course of its filming, became
her very close friend. There was no hint of romance be-
tween them, despite the fact that Novarro sent her flowers
every day, lunched with her and dined with her. Their
friendship flourished, however, and she continued to see
much of him even while she was making "Grand Hotel."
When "Grand Hotel" was completed, Greta returned for
a second visit to her beloved Sweden. Novarro happened
to know that he wovild be in New York just at the time
she was due to stop over in the city, prior to sailing. Could
they meet? He wanted to know. Where would she be
stopping? Greta smiled her enigmatic smile, but she would
not divulge, even to her friend, where she intended to stay
while in New York, nor the day she actually expected to
arrive. One afternoon, however, a box of roses arrived for
Novarro at his hotel suite. There was a card, bearing two
initials . . . M.H., and a telephone ntunber. Nothing more.
He was mystified at first, until suddenly he remembered
that in "Mata Hari" the same kind of roses had been used.
The initials explained themselves. Greta was in town! She
wanted him to telephone her! The incident was typical of
Garbo, characteristic of her desire for privacy.
While abroad, Greta was not idle. Her greatest ambition
had always been to bring to the screen one of the world's
most colorful women . . . Queen Christina of Sweden. She
did research in Swedish museums and libraries and when
at last she set sail for America once more, she brought with
her a vast wealth of historical material. Two years had
elapsed since she had done a picture, when plans were
made for the filming of "Queen Christina." The studio had
imported an Englishman to play opposite her. But Garbo
had other ideas.
She simply said, "Bring rhe John Gilbert."
It was no second flaring of a dead romance, this gesture,
but rather one of supreme confidence, of complete affection
and accord on Garbo's part. Gilbert was no longer at the
pinnacle of his career, no longer a dazzling star. People had
A truly poignant moment from "Camllle/'
with Bob Taylor doing all right as Ar-
mand. Between scenes, he clowned on
the set and Garbo actually enjoyed it,
believe it or not!
Looks like bad news from home or some-
thing, in this scene from '"Conquest," with
Charles Boyer reading over Greta's shoul-
der. This is Garbo's most recent picture.
l| laughed at his first talkie, had already relegated him to a
I past era. But Garbo remembered him as he had been in
their first triumph together and believed that he could
I again scale those heights.
I SHE EINEW how much it would mean to his screen career
to be in this picture with her and, throughout its entire
u filming, she saw to it that he got every break. And as they
I worked together, day after day, as they looked into each
I' other's eyes, as they laughed and loved and wept before
" the grinding camera, it was apparently, strictly, play-acting,
yet surely, deep within the heart of each, the embers of
! that love they'd once shared, still must have glowed.
When Gilbert died so tragically, however, there was no
j linking of Garbo's name with his own, no reference to her
i in any way. "Whatever personal grief she may have suf-
j fered, whatever tribute she might have offered to his
I memory, no one will ever know.
I Garbo's next picture, following "Queen Christina," was
"The Painted Veil." George Brent played opposite hei-. A
! tall, blue-eyed Irishman, George, with a slightly crooked
smile and a very small-boy air about hkn. No one could
j have been more of a contrast to John Gilbert, and, for that
! reason perhaps, no one had a better chance to captivate
j Greta's romantic fancy. Once again, she was known to
laugh, to be seen in public, to attend social gatherings. And
j always with Brent as her escort.
I They drove together and walked together and Brent was
I known to dine often at her home, but there was no talk of
'< marriage. Obviously, with Garbo, her career came first.
I After completing "Anna Karenina," with Fredric March,
she again went to Sweden for a holiday and while she was
gone rumors ran rampant about mysterious romances in
I her own land. She returned to Hollywood, however, with
no explanations. But it was a new Garbo who arrived in
New York. She posed for photographers and laughed and
joked with reporters, thereby completely flooring the press!
She carried this same jovial mood onto the set for "Ca-
mille." She liked Robert Taylor instantly. He was young
and fresh and the first actor who very definitely wasn't
! awed by her, or frightened by her reputation. He broke all
traditions by clowning on the set and she seemed to enjoy
it. When Bob brought his portable victrola on the sound
stage and started playing racy ditties, Garbo asked, "May
I come over and listen?" And she did.
She also went on location with Bob for the first time in
her career. Up until that time, she absolutely refused to
budge from the lot no matter what kind of scenery the
script demanded.
Outside of the studio, George Brent was evidently still
her only romantic interest and then, quite suddenly, that
was terminated by his elopement with Constance Worth.
At least, terminated temporarily. The marriage lasted only
a few weeks and almost immediately after its break-up,
Brent again began his siege of the Silent One's heart. What
the future will hold for this attachment, or for any other
which may come into Garbo's life, only time will tell.
DESPITE HER success and the fact that she makes one of
the largest salaries paid a star, Garbo hasn't an easy
life. She works for her money. Once it is in her pocket
book, however, she is willing to let the studio whistle for
her. Before each picture goes into production she visits
dress designer Adrian, and has long conferences with him.
He sketches her costumes and she approves them. She
rarely opposes his judgment because she realizes she her-
self has little style sense.
She never meets anyone in the cast before she goes into
scenes with them. Nor does she throw fits of temperament
on the set. She saves those for the big producers, where it
counts, woody Van Dyke, the director, shocked her when
she first met him. He called her "Honey" and "Babe."
"Stand over there, Babe," he told her, when they got
ready to shoot the first scene. Garbo looked at him in
amazement and then she smiled. After a little, she even
liked it! When she steps on a set, she knows her lines
perfectly. No one has ever seen her studying a script. If
she rehearses at all, it is for the benefit of the other players
and she has never been known to try to steal a scene. If
there is any choice, she will invariably give another player
the break.
. All dressed up lor cm evening at the
Troc! This is what the candid camera
boys got, after lurking in the bushes for
days — well, hours, anyway.
Garbo rarely spends money. After "Queen Christina"
was finished, she gave everyone in the cast a bottle of
Scotch and everyone was surprised. That was the only
time, before or since, that she passed out gifts, although
it is a custom in the Hollywood studios.
Her most recent picture is "Conquest," in which she plays
with Charles Boyer. Mr. Boyer found her gracious and
charming to work with, a beautiful and fascinating person-
ality. The girl who was born in an humble home in Stock-
holm, who lathered customers in a barber shop, modelled
hats and came to Hollywood a poor, shy creature who
feared her own shadow, is gone. At least outwardly so. In
her place is a woman of the world, cultured, famous,
wealthy.
But is she happy? No one knows. Garbo will not say.
Always, there is the suggestion of tragedy about her, a sort
of wistfulness that is apparent even when she smiles. There
are highlights and depths to her life story that will ever
remain a mystery, for no one is sufficiently close to Garbo
to know the emotion she has buried. Intimate friends have
remained intimate only as long as they have remained dis-
creet. The instant they flaunted their friendship with Greta,
the association was terminated. She is still aloof, unpre-
dictable. Perhaps it is because her soul can never really
be free of that awkward, unhappy and timid child, who was
the Greta Gustafsson of Stockholm, Sweden.
MODERN SCREEN
Lg3 U> TfOiIlcll
i-mamm
Puts into skin the
substance that helps to
make it beautiful
ANEW KIND OF CREAM has been
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A cream that puts into women's
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For years, leading doctors have
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when there is not enough of this
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Then we tested it in Pond's Creams.
The results were favorable! In animal
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because of "skin-vitamin" deficiency in
the diet became smooth and supple again
— in only 3 weeks!
Women who had long used Pond's
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with "skin -vitamin" — and found it
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it gives skin a bright, clear look; that
it keeps skin so much smoother.
^'GIVES BETTER
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SKIN IS CLEARER
^ fXan ti/Je/mOnt—aov Mrs. ElUworth N. Bailey,
daughter of Mr. and Mrs. Morgan Belmont
Exposure dries the "skin-vitamin''^ out of skin. Mrs.
Bailey says: "I am so glad to use the new Pond^s 'skin-
vitamin'' Cold Cream. It keeps my skin finer and softer,
in spite of all my sports.^^
(le/i) Mrs. Bailey skeet shooting at her home in Tuxedo
Park, (center) Leaving the Plaza after luncheon.
Same jars, same labels, same price
Now the new Pond's "skin-vitamin" Cold
Cream is on sale everywhere — in the same
jars, with the same labels, at the same
price. Use it as before — but see how much
healthier and freer of faults it makes
your skin look!
This new cream brings to your skin the
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Not the orange-juice vitamin. But the
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TEST IT IN
TREATMENTS
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Rush special tube of Pond's "skiii-vitainin" Cold
Cream, enough for 9 treatments, with eaniplcs of
2 other Pond's "skin- vitamin'* Creams and 5
different shades of Pond's Face Powder. I enclose
lOji to cover postage and packing.
Name_
Street-
City
State_
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%9
MODERN SCREEN
TAKE THE SYRUP THAT
CLINGS TO
COUGH ZONE
The right medicine for a cough (due to a
cold) is one that does its work where the
cough is lodged. ..that is, in the cough zone.
That's why Smith Brothers made their cough
syrup thick, clinging. // clings to the cotigh
zone. There it does three things: (1) soothes
sore membranes, (2) throws a protective
film over the irritated area, (3) helps to
loosen phlegm. 6 oz. bottle only 60(5!
SMITH BROS.
COUGH SYRUP
George Ralt-On the Spot in
February Modern Screen
NAILS
AT A MOMENT'S NOTICE
NEW! Smart, long,
tapering nails for
everyone! Cover broken,
short, thin nails with
Nu-Nails. Can be worn
any length and polished
any desired shade. Defies
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Easily applied ; remains firm. No effect on
nail growth or cuticle. Removed at will.
Set of Ten 20c. All 5c and ItJc stores.
NU-NAILS FINGERNAILS
Reviews
{Continued from page 11)
iri^ Forty-Five Fathers
You'll have a hard time finding a show
in town that can beat this for pure,
wholesome fun. It's Jane Withers at
her best — and even if Jane Withers in
any form doesn't appeal to you, you'll find
the laughs stacking up on you, anyhow.
And the plot, though a completely goofy
one about a little girl who is adopted by
forty-five elderly gentlemen, is still the
kind that holds your interest. The most
entertaining episodes can be chalked up to
the credit of the Hartmans, Mr. and Mrs.,
who are a dance team of no small merit,
and good comedians to boot. They are
also ventriloquists, which leads to an origi-
nal and highly diverting climax, when the
two voice-throwers show up the crooks in
a courtroom trial.
In the cast, and giving good perform-
ances, are Thomas Beck and Louise Henry,
as the romantic interests, and Richard
Carle as the unfortunate "first father,"
who adopts the busy-body, Jane. From
the time she sets foot in her new home
things start popping, and though Jane gets
herself and everyone else in hot water, it
all works out for the best — of course.
Worthy of special mention for some
high spots in the picture are the doings of
Sammy Cohen and George Givot, in the
respective roles of Jane's dancing and sing-
ing teachers. In short, this has enough
good scenes in it to recommend it. Directed
by James Tinling. — 20th Century-Fox.
** Merry-Go-Round of 1938
In its straight vaudeville moments, this
is a joy to behold, because it allows Bert
Lahr and Jimmy Savo to indulge in some
of their favorite tricks. Each of these
stage favorites has tried the films before,
but the results were so negligible that this
can really be called their official screen
debut.
The story is one of those things, con-
cerning the love of an aristocratic young
man (John King) for an orphaned daugh-
ter of Broadway (Joy Hodges). The
young lady has been brought up by a
vaudeville quartette, Bert Lahr, Jimmy
Savo, Billy House and Mischa Auer, and
the picture's plot has to do with the efforts
of her guardians to break down the resis-
tance of the young man's mother (Alice
Brady).
Joy Hodges has a personality, excellent
limbs (legs), and a good singing voice.
In other words, she has a future. Mischa
Auer furnishes much of the comedy in the
role of a fake Swami, but Billy House,
the fourth member of the quartette, may
as well have remained back on Broadway.
Directed by Irving Cummings — Universal.
"A'tUt Lancer Spy
Just when you think spy pictures are
about as old-fashioned as gangster epics,
out comes a pretty good film which has
everything to excite and interest a movie
audience. The garrulous Gregory Ratoff, in
his directorial debut, manages to keep his
story plausible and his pace absorbing.
Story, with a World War background,
is based on the resemblance between a
captured German officer and a British
naval lieutenant. The lieutenant spends
weeks in a jail cell secretly observing his
prototype, then "escapes'" with the Ger-
man's orderly, and makes his way to
Berlin, where he hopes to learn Prussia's
plans for a drive on Paris. In Berlin he
is made a national hero, but the secret
police suspect him and keep constant
watch on him. Further complications are
added when a night club dancer, who is
also a German spy, falls in love with him.
Acting honors go to George Sanders,
who plays his dual part with finesse and
conviction. In his first leading role,
Sanders promises a fine screen career.
Dolores Del Rio, always pleasant to look
upon, does well in the role of the dancer,
and there are expert portrayals by Peter
Lorre, Joseph Schildkraut, Sig Rumann,
Maurice Moscovich and Lionel Atwill.
Directed by Gregory Ratoff. — 20th Cen-
tury-Fox.
* Breakfast for Two
Frank Capra should never have made
"It Happened One Night." True enough,
it was a joy and a delight the first few
times we saw it, but the public — and the
poor reviewers — have been paying heavily
for that pleasure ever since. "What we
mean to say is that "Breakfast For Two"
is the 3,948th version of the Capra success,
and while imitation is the sincerest form of
flattery, it can certainly be carried too far.
Story has to do with the ne'er-do-well
owner of a shipping line (Herbert Mar-
shall), who winds up an all-night spree
with a strange gal who turns out to be
a wealthy young lady from Texas (Bar-
bara Stanwyck) . The young lady, bent
on reforming her new friend, buys out his
shipping business and eventually makes a
man of him.
Herbert Marshall looks pained through-
out the film, undoubtedly having read the
script, which called for him to be slapped
in the face with a layer cake and submit
to several other slapstick indignities. Bar-
bara Stanwyck does well with what the
picture offers her and succeeds in appear-
ing very attractive in spite of the above
proceedings. Eric Blore plays his familiar
butler role, and Glenda Farrell does a
small part as a gold-digging blonde. Best
in the cast are Etienne Girardot, Donald
Meek and an unbilled dog. Directed by
Alfred SAnttW.—RKO -Radio.
*52ncl Street
This lavish production misses the mark
all around and turns out to be an un-
happy hodge-podge of mediocre musical
comedy with a dull and sentimental story
which fails to hold the works together.
Starting back in the days when 52nd
Street was society's stronghold, the grad-
ual changes in the street are depicted —
through the days of prohibition, speak-
easies and its final return to "respect-
ability."
Snobbiest of the 52nd St. snobs is Dor-
othy Peterson, who with her sister, Zasu
Pitts, sticks to the family brownstone
through the years. She has ruined Zasu's
life, having forbidden her to fulfill her
stage ambitions Then she breaks the
heart of her brother (Ian Hunter) by re-
fusing to recognize his show-girl wife,
Maria Shelton. Nor will she have any-
thing to do with their daughter, Pat Pat-
erson, who also finds the lure of the foot-
lights more exciting than the prospects of
being a lady. Bolstering up the story is
a succession of song-and-dance entertain-
ments. Directed by Harold Young. — Wal-
ter Wangcr.
NU-NAIL CO. 2459 W. MADISON ST.,
60
CHICAGO, ILL.
MODERN SCREEN
There's Glamor in Glitter
(Continued from page 8)
themselves in placing accents of brilliancy
not only on evening gowns, but also on for-
mal afternoon frocks or on the accessories
to be worn with them.
Betty Jaynes and Lynne Carver, two
of Hollywood's younger starlets, knew
when to stop when they selected the
gowns they show you on the opening
pages of this article— Lynne's for after-
noon and Betty's for evening formal wear.
You will see at once what I mean when
you note that while they glitter, they do
it in a quiet way, so that their personali-
ties and beauty are not overpowered by the
brightness of their costumes.
Green mirrored ornaments decorate the
blouse of the black crepe dress, shown on
Lynne Carver, whom you saw in "Ma-
dame X." This is the perfect type of
dressy afternoon frock, which can be worn
to luncheon, and on through the cocktail
and dinner hours. The criss-cross treat-
ment of the high neck is interesting, as is
the shirring at the center front of the
skirt, bringing all of the fullness forward,
to descend in a panel of loose drapery
down the front in Grecian style. The bodice
of the dress is closely fitted, corselet fash-
ion. Her pencil-slim skirt is quite short,
for we are going to be wearing them that-
away for quite a while yet. The small
black velvet turban has a flattering veil
trim, another style feature which spells
allure. The bright ornament on the side
carries out the glitter effect of the dress.
Black accessories — a smart zipper, suede en-
velope purse, suede shoes and gloves — com-
plete the ensemble. The touches of bril-
liance on this frock are toned down, being
confined to the blouse only. Also, Lynne
wears no jewelry with this costume, the
mirrored ornaments doing a very satisfac-
tory job of providing just enough flash
without being flashy.
Betty Jaynes is still in her teens, but
doesn't she look grown-up and sophisti-
cated in her long dinner gown? Betty is a
comparatively recent arrival in Hollywood,
having enjoyed the distinction of being
the youngest prima donna ever to star in
Grand Opera, when she astounded music-
lovers last winter in Chicago by the beauty
of her voice. She has a seven-year movie
contract, so you'll be seeing lots of her.
Among the gowns she has chosen for her
first Hollywood season is the black wool
crepe dinner dress, embroidered with silver
leaves, which she models for you.
ALTHOUGH black with silver brocade
■ might be too much for a young girl to
carry, the clever lines of this dress keep it
from being too sophisticated, too "old" for
our Betty. The youthful, shawl-like drap-
ery at the shoulders forms quaint little-girl
sleeves and continues across the neck to be
tied in a fetching knot at the center. The
fullness of the skirt is pulled back to form
a small train, thus giving the much-desired
sheath-like silhouette across the hips, and
fashionable willowy, slenderness to the
lines of the skirt. An important style note
in this dress is seen in the fact that wool
crepe, formerly a purely sports or utili-
tarian fabric, is now being used for formal
gowns, dressed up by luxurious embroidery.
Betty's accessories with this costume are
very simple. Her shoes, which you can't
see because of the length of her gown, are
black strap slippers, cut out at the toes
and trimmed with silver. She carries a
simple pouch bag of white brocade shot
with silver, and wears a silver fo.x cape.
But don't let the silver fox frighten you,
for a cute "chunky" coat of white lapin
would be just as appropriate and becoming.
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61
BETlMGEn VOU
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doctor himself will tell you that a regular
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So keep your bowels open! And when
Nature needs help-use Ex-Lax! Because of
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$5.00 Prize Letter
Taylor — A National Laugh?
I have been thoroughly disgusted with
the way M-G-M has and is allowing
everyone to humiliate Robert Taylor. I
think it is ridiculous that the poor rnan
can't even go on a vacation without having
such unpleasant experiences. I think that
shows poor protection on the part of his
studio. They're always hollering about
not being able to get desirable leading
men. Is it any wonder?
If I had a hand in piloting the career
of Taylor, I certainly would soft-pedal the
"Beautiful Bob" stuff in a hurry. And
as for hiring girls to hide in his cabm be-
fore he sailed for Europe! Well, to call
that shoddy is an understatement!
No doubt, Bob appreciates the applause
and praise for his work by the public, but
at the same time he, too, would like to
come and go as he pleases without being
trampled underfoot by a wild mob at every
turn of the road. It is a shame to see
such a well deserved favorite as Robert
Taylor turned into a laughing stock. He
has talent, and if he would only land a
he-man role where he can show his ability,
we would get a different — and the right-
viewpoint of him. — Guy Stanton Ford,
Minneapolis, Minn.
$2.00 Prize Poem
A Guess Whosit
There's a blonde and sprightly starlet on
the shadow stage today,
Who is busy going places in a sure and
certain way.
From her first attempt in talkies to her
last breathtaking hit,
There's no singing star who's like her,
even just a little bit.
She's improved so unbelievably in looks
and screen technique,
We are sure she's irrevocably on top of
the movie heap.
Once I thought her only asset was a
sweetly throbbing voice
And I doubted George White's judgment
when he made her leading choice;
But today her varied talents leave us no
more room for doubt
That this clever little actress knows just
what it's all about,
For she copped a role in pictures once
assigned the Plat-num Jean,
Female lead "In Old Chicago," yearned
for by each movie queen.
When her screen plays are presented, full
of dancing, singing fun,
I would rather lose my pay check than to
miss the poorest one.
Though I'm sure you must have guessed
it, I had better tell the name
Of this most attractive player whom you
know by face and fame,
Tuneful singer, nimble dancer, up-and-
comer, here to stay.
The delightful, lithe and lovely, one and
only Alice Faye.
—Elizabeth Hantzman, Alexandria, Va.
Cheap studio publicity tends
to make a national laugh out
of Bob Taylor, instead of a
national hero, says one fan.
$2.00 Prize Letter
What Say, Managers?
Due to lack of funds, school terms in
several communities hereabouts were cut
considerably, so that the children had ex-
tra long vacations. I don't know what we
harried mothers would have done without
the movies. They were the ideal place to
send restless boys and girls, when in-
activity began to pall on them. Picture
houses were clean, cool, safe, and the
movies this summer seemed . especially ex-
cellent, far above the usual output. There
were a number of return showings of such
fine productions as "The Good Earth,"
"The Lost Horizon" and "Romeo and
Juliet."
The biggest handicap was always having
the money necessary for a large family of
children, most of whom had to pay adult
prices. I suggested to our favorite movie
house manager that there be issued a
special holiday season pass for school
children. Really, these young people are
Hollywood's most enthusiastic and loyal
supporters, and often through their in-
sistence the whole family group goes to
the movies.
Children's ages for paying adult prices
are usually set at twelve years. If this
were raised to fifteen or sixteen, I believe
a larger, more regular attendance of
youngsters would increase theatre receipts
considerably, and would educate the chil-
dren into millions of loyal adult fans. —
Mrs. G. M. Jackson, Ludlow, Ky.
$1.00 Prize Letter
Questions Without Answers
The following questions have been
puzzling me for a long time.
1. Why is it that lovely young heroines
always have fathers but seldom mothers?
2. Why are the fathers of these lovely
young things always senile men with one
foot in the grave?
3. Don't movie folk ever start to raise
families until they are over fifty? If not,
why not? . , ,t , .u- 5
4. How many people m real life do this
FOLEY'S COUGH SYRUP
62
m p Our special Christmas oiler brings your
1 1 1 b casli prize to you before the holidays
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too, that your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism.
Special Christmas offer:
Seein' as how the gift-buying
season is iust a couple of
weeks off — and a bit of extra
money is not to be sneered at —
we'll send out cash prizes to
the lucky winners by Decem-
ber 18th. So, have your letters
here by the 15th.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; 2 sec-
ond prizes of $2 each; 6 prizes
of $1 each. Address: Between
You and Me, 149 Madison Ave.,
New York, New York.
"Why are the heroine's
Mama and Papa always
middle-aged" is the ques-
tion that's bothering an
Ohio Miss.
It's rare and you know it — 'cept in films.
I'm a mother of a sweet young thing in
her twenties and I'm not only not dead,
but I have no gray hair, no false teeth,
weigh under a hundred pounds, look and
feel young ! Her dad is no bewhiskered
grandpa, either. He is along around the
age of Warner Baxter and Buck Jones.
We're average people ! Gosh, give us
something more like real life ! — Helen
Heide, Springfield, Ohio.
$1.00 Prize Letter
A Just Complaint
Please allow me to use your forum to
give vent to an angered opinion of a very
nasty and uncalled for remark in the
script of "Between Two Women." I mean
the scene in which Virginia Bruce, por-
traying an heiress wife of a doctor, calls
Maureen O'Sullivan, playing the role of a
graduate nurse, "a glorified chambermaid."
Were Miss Bruce, the script writers,
producers or any of the clan in need of
medical care, they would welcome the
care and experienced services of a reg-
istered nurse, whom they so casually call
a chambermaid. It has taken years of
hard work and untold patience for those
in charge of hospitals to elevate nursing
to its present high standard. Even the type
girl Miss Bruce portrayed would hardly
stoop so low as to utter a remark about
a character so far above her.
I believe the producers of "Between Two
(Continued on page 80)
her
for
Di-
of
X,"
Lovely is
the word for
Merle Obe-
ron as she
studies
lines
"The
V o r c e
Lady
between
takes on the
set. She
looks as
though she
might have
stepped
right out of
an old-fash-
ioned Val-
e n t i n e ,
doesn't she?
63
MODERN SCREEN
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64
Robin Hood Throws a Party
{Continued from page 27)
party. "We was sittin' talkin' the other day.
And Errol says, 'Sailor,' he says, I'd like
to get acquainted with the boys. I don't
know most of 'em. Bring 'em over to the
house, and we'll start 'em ofif with a head-
ache,' he says. So when we got through
work today, we took a bath and here we
are.
"Some stars throw you a party when the
picture's over. Errol, he's the only one
that throws it first. He don't want to be
no star. And again, he don't do it to be
a good fella, see what I mean? He don't
go 'round slappin' people on the back, and
then when they leave, call 'em bum. He
does it because he likes to be friends with
the boys and have fun. He likes to laugh.
Damn if I ever see such a guy for
laughin'."
"What's he blathering about?" inquires
Flynn, coming up behind us. "Did he tell
you he was champion boxer of the Navy?
Did he tell you he's been fired more times
than he's been on his back in the ring?"
"Errol," stage-whispers Sailor, "what
about them carrots?" Errol wheels and
disappears into the house. A few minutes
later a procession issues forth. Sheffield
and a Japanese boy bear laden trays. Be-
hind them stalks Flynn, a lordly salver
poised on the fingers of his right hand,
on the salver two carrots. Left hand at his
hip, he changes his rhythm and swings, a la
Salome, toward one of his guests. Drop-
ping his head demurely, he presents the
carrots.
"Thanks, slave," says the guest, picks
up the carrots and starts crunching.
"Gentlemen," calls Flynn. "Three cheers
for the company horse."
"He ain't no horse," Sailor whispers
kindly in the midst of the uproar. "Only
a vegetarian." The garden is full of talk
and laughter. A slim, dark-eyed girl slips
through the door and stands watching the
scene for a moment before she's spotted.
"What ho! Damita !" calls Flynn. But
Sailor gets there before him, arm gallantly
crooked. "Boys!" he booms proudly.
"Errol's Missus !"
LILI'S clear laugh rings out as she
^ spies the carrots. "Did Fleen put a
joke on you? When Fleen puts a joke on
me, I geeve it right back to heem. Like
this. You pair-meet?" Eyes dancing,
she takes a bit of carrot from the vege-
tarian and of¥ers it to Fleen. He nibbles
at it gravely from the palm of her hand,
then lifts his head and nickers. Wild
applause. Damita's struck a homer, first
crack. She's in.
"Fleen darling," begs Lili. "Show them
Shefif and the captain."
"Well," Errol complies, "I must first
explain that Shefif is a landlubber and gets
seasick on the boat, which fills the old
skipper with disgust. So he takes every
chance he can get to show ShefT up. Now
here's the captain, bringing the boat along
the wharf. Sheff's standing in the bow."
"Dual role impersonated by Muscleman
Flynn," someone announces.
Muscleman Flynn bows, then cups his
hands round his mouth. "Hi, there ! Take
a line 1 Get a line ashore !"
Now he's Sheffield, shoulders hunched,
standing miserably in the bow. He turns
his head. "Line?" he quavers.
"Don't you know a line when you see
one?" he bellows as the captain.
"Not so loud," giggles Lili. But by now
Flynn is immersed in his art. A nimble
step this way or that turns him from Sheff
to the captain, and back again.
"Oh, you mean this thing, ' says Sheff.
He stoops and picks it up gingerly between
two fingers, lips curled in distaste.
"It's a rope," shouts the captain, "not a
bloomin' caterpillar. Throw it ashore."
With the silly movement of a girl throw-
ing a ball, Sheff casts the rope. It drops
into the water. Flinging up his arms,
he lurches this way and that and comes
to rest with a thud on the deck. The cap-
tain strides past him. "Want a lolly-
pop?" he snorts.
"Fleen, you're making it up !" squeals
Lili.
"And here's Shel¥ getting his own back
on the skipper when he comes to the
house."
He shuffles in, twiddling his hat brim
between his fingers, a straight old man,
self-respecting, a little stiff, a little uneasy
in alien surroundings.
Enter Shefif, looking down his nose. He
speaks with his lips pursed. "Mr. Flynn
is in the garden. You may put your cap
there."
The captain lays his hat warily on a
chair, and starts out. Sheff's eyes dart
downward. "Perhaps you'd better wipe
your feet," he suggests impersonally.
"Fleen! Shefif would never be so rude."
protests Lili, into the gale of mirth that
sweeps the audience.
As darkness falls, lights gleam from
within the house.
"Mrs. Flynn, do you mind if we turn
on the radio? There's a program some
of the boys would like to hear."
"But, of course. I like to hear it, too."
She leads the way in, surrounded by
boys. A dozen hands move to get her a
chair, but she plumps herself down on the
floor, laughing, "Here I sit best."
AT the other end of the lamplit living-
' room someone strums "A Pretty Girl
Is Like a Melody," on the piano. They
start humming it. There is a gradual drift
from the canned to the living music. One
by one the masculine voices join and swell
in the song. Sailor nudges Flynn. "Sing,
Errol." The others take it up. _ "Sing,
Errol." Obediently, he lifts up his voice
At last they've had enough. Or so
Sailor thinks. Sailor doesn't believe in
hints. "Time to go home, boys."
"A stirrup cup in the garden," suggests
Flynn. They troop out into the garden,
filled now with the chirp of crickets. The
moon sails overhead. They lift their
glasses. "To Robin Hood. And Mrs
Robin Hood."
"And all of you," amends Flynn, his arm
round his wife, tiny and childish-looking
beside his tall figure. "Thank you. _^Good-
night. We've had a lovely time." It's
the formula of well-mannered children.
This is no crowd of Hollywood sophisti-
cates, but a group of simple men whose
mothers taught them long ago how to
take leave of their hosts.
Damita and Flynn trail with them
through the living-room and out to the
front door. Motors start, purr, drive
away into darkness. Flynn drops a kiss on
his wife's head. "Tired, darhng?"
"Oh, no. They are such grand boys."
Her eyes turn mischievous. "I theenk I
go weeth you to location, Fleen." From
far away, its rollicking note undimmed by
distance, a singing voice floats back. The
two on the lighted threshold break into
laughter as they go in, closing the door
behind them.
MODERN SCREEN
A Xmas They'll Never Forget
Is Your Skin Treatment
irCRYFORYOU?
IF YOUR PRESENT METHOD LEAVES YOU WITH
BLACKHEADS, COARSE PORES, DRY SKIN, THEN IT'S
TIME TO SWITCH TO A PENETRATING FACE CREAM!
(Continued from page 33)
because she wasn't up to the travesty of
a Christmas feast. That night she cried
1 herself to sleep.
(i
CHRISTMAS, 1934, when Jane Withers
got her first big break, was the hap-
piest and most eventful one in her young
j life. She and her mother had been in
' Hollywood for a year and a half, and were
making no headway. Jane worked as a
model in a department store, entertained
I at newsboys' dinners, appeared over the
radio and played extra parts in sixteen
; pictures, but the big break they had been
waiting for never seemed to come. Fi-
nally, Jane got a chance to appear with
Shirley Temple in "Bright Eyes," but the
picture hadn't been previewed yet, and she
and her mother weren't any too hopeful.
They remembered how once before they
had written their friends to watch Jane's
acting in "Handle With Care," only to dis-
cover after the picture was released that
Jane's bit had been cut.
Mr. Withers kept urging' them to come
home, and they agreed to come back for
Christmas. Jane's contract with the Los
Angeles radio station would be over by
then, and there would be nothing to hold
them in Hollywood.
Though Jane looked forward to seeing
her father and grandmother, she and her
mother hated to come home to Atlanta de-
feated and discouraged, for they had once'
been so sure that Jane would get some-
where in pictures.
At the preview of "Bright Eyes" in De-
cember, the preview audience went wild
about Jane. There was no longer any
doubt about her future, and Jane signed
a long-term contract, a few days before the
twenty-fifth. Over the phone, Mrs.
Withers, her voice glowing with happiness,
told her husband what had happened, and
persuaded him to fly to Hollywood.
That Christmas it wasn't a defeated
family that met in Atlanta, Georgia, but a
happy one, rejoicing in Jane's good for-
tune, that met in Hollywood. Jane's father
arrived in time for Jane's broadcast, and
was present at the farewell party given for
her by the radio station. He discovered
how many real friends Jane made in Holly-
wood ; and he was happy to see that even
though the family had been separated and
Jane hadn't had her father to discipline
her, her mother had seen to it that she re-
mained unspoiled.
Claudette Colbert believes she will never
have so memorable a Christmas as was
hers in 1935, for she was married during
the Yuletide season to Dr. Joel Pressman.
"We had known each other for some
time," she said, "but we didn't discuss the
possibility of marriage until a few weeks
before the wedding took place. I had a
short vacation and Christmas seemed an
appropriate time, so we were married. I
shall always think of Christmas, 1935, as
the beginning of the happiest part of my
life."
Marlene Dietrich remembers most vivid-
ly December of 1934 when her husband,
Rudolph Sieber, and her daughter, Maria,
were reunited after a separation lasting
several months. Maria was eight years
old at the time and had written Santa
Claus that she wanted a doll house and a
whole doll family.
Marlene, who had been sick with long-
ing for her daughter all those months,
asked nothing more of life than to make
Maria's holiday a happy one.
It required a special trip for Santa to
respond to Maria's letter. The doll house
Let me ask you a perfectly frank question.
What results do you expect from your way of
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So let's be honest with ourselves. If you
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How a Penetrating Cream Works
Women who use Lady Esther Face Cream are
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I do not want you to buy my cream to prove
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Please send me by return mail your seven-day supply of Lady Esther Four Pur-
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Name Address —
City State
{Ifyoulive in Canada, tvrile Lady Esther, Toronto, Ont.)
65
MODERN SCREEN
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Irene Dunne and her husband,
Dr. Frank Griffin, step out for
a little night life during one of
hubby's visits to the coast. He
does all the commuting now
that Irene has a young
daughter to look after.
66
was a twelve-room affair, so large that
Maria herself could enter it to cook meals
on a real electric stove, clean the floors
with a miniature vacuum cleaner, and fill
small closets with complete outfits of cloth-
ing for her dolls.
Parents seem to feel pretty much the
same, even when they're parents by adop-
tion. More than anything else, Wallace
Beery had looked forward to becoming a
father some day. But years passed, and
he had no children. When other parents
celebrated Christmas with their children,
he couldn't help feeling a pang. Finally
he realized that there was very little
chance that he'd ever have a child of his
own. His only hope was to adopt one.
When Beery heard that his wife's aunt
had died, leaving little fifteen-months-old
Carol Anne, motherless, he adopted her,
His happiest Yuletide came when she
was three years old, for it was the first
one that she was old enough to appre-
ciate. For days Wally went on shopping
sprees. He bought all kinds of toys and
dolls. The big goof didn't even know
which toys were right for a girl of three,
and he bought some she wouldn't be able
to use for years. Then he sat back and
watched her play.
He counted himself hardboiled, but the
tears almost came to his eyes as he watched
her. He knew that a great thing had hap-
pened to him — the greatest that can hap-
pen to any human being. He was no longer
denied the privilege of fatherhood.
After that when things went wrong, he
just sat back and laughed. Through one
bad investment after another, he lost the
comfortable fortune he'd piled up through
the years. One day a reporter came to see
him to find out how he felt about losing
all that money. Wally just laughed and
called Carol Anne over. He asked her to
sing, and she sang a few notes off key.
He asked her to laugh and she laughed.
He fed her candy.
Then he said, "You know, that kid's
nuts about me. And she's mine — all mine.
Who in h says I'm unlucky?"
OLIVIA DE HAVILLAND says her
most memorable Christmas was a
most bewildering one. She doesn't remem-
ber how old she was, but she was just a
tiny child. She and her mother and sister
were at Pebble Beach. They arrived on
December 2Sth in a pouring rain and found
their tree and presents and Christmas fix-
ings all ready for them. Even though it
was raining they had a grand time, for
Olivia, born in Japan and raised in Cali-
fornia, had never known a white Christ-
mas, so she really didn't miss snow.
But the incident that made this particu-
lar one stand out was amusing. They got
up in the morning and looked out over the
Pacific and saw hundreds of seals lying
on the rocks. With a laugh, Olivia's
mother pointed to them and said, "Look,
girls, Christmas seals !"
For a long time she puzzled over it, and
because she was so puzzled, remembered
it. To this day, whenever she sticks a
Christmas seal on a package, she thinks
of the Christmas seals at Pebble Beach.
Olympe Bradna's dark brown eyes
glowed as she said, "The Christmas I'll
never forget came when I was six years
old. To understand it, you have to know
that I always loved fairy tales. I was
always dreaming of having dolls dressed
like the princes and princesses in the fairy
tales. This particular time I got three
dolls, one dressed like a prince, another
like a princess, and still a third doll
dressed like a page boy, to hold the train
of the princess."
"How nice," I said to Olympe, "but how
did your parents know?"
She smiled tenderly. "Don't parents al-
ways know what their children want?"
Anne Shirley's happiest Christmas came
when she was eight. When Anne was
an infant, her father died, and left her
and her mother unprovided for. Their life
was a constant struggle against grueling
poverty, with Mrs. Shirley working as
chambermaid, elevator operator, house-
keeper— anything to keep them from
starving,
Santa, somehow, always passed her by.
It was on her eighth birthday that he came
for the first time.
"All my life," she told me, "I had wanted
a doll's carriage, a real-honest-to-goodness
doll's carriage made of brown wicker. And
Santa brought it to me. The top of the
carriage was adjustable and it had real
glass windows in it, exactly like real baby
carriages. And it was brown and the right
kind of wicker. I actually cried with joy
when Mother said it was for me."
DOUGLAS FOWLEY, whom you see
playing gangster roles, has an un-
usual Christmas to look back upon. It was
during the depressing year 1929 when,
broke and out of a job for three months,
penniless and hungry, he lived in the slums
of New York. He had sunk lower and
lower, until he seemed no different from
the other down-and-outers who infested
the Bowery, eager for a hand-out. He even
ate with the bums and hobos at the Hobo
Mission in the Bowery run by Mr. Zero,
a famous philanthropist, who would feed
anyone who was hungry.
This Christmas Mr. Zero asked if any
of the men could entertain at their Christ-
mas dinner, and Douglas offered to sing.
To these unkempt, discouraged men he
sang "Jesu Bambino' and as he sang, his
mind went back to another Christmas when
he'd sung this very same song with the
famous opera singer, Giovanni Martinelli.
He was thirteen then and head of the boys'
choir of the St. Francis Xavier Church in
New York. How proud he'd been then of
the distinction he had won ! And the quiet,
respectable churchgoing people had been
impressed by the boy's clear young voice
leading the choir.
But they hadn't needed that song or any
song as these men yearned for something to
awaken them from the lethargy, the hope-
lessness into which they had fallen. Some-
how he must lead their thoughts away
from the bleakness of their present situa-
tion. He sang as he never had before.
When he began "Onward Christian Sol-
diers,'' the discouraged men joined in.
To Douglas Fowley that was the grand-
est day of his life.
The Christmas which Jeanette Mac-
Donald recalls most readily was the first
one after her father died. She and her
mother were in Chicago, where Jeanette
was appearing on the stage.
"I remember," she said, "that we were
both downcast most of the day, even though
we tried to be gay. As we were in a
strange city, we had our dinner in a res-
taurant. I ordered a ham sandwich. Mother
ordered a turkey sandwich. We both pre-
tended to enjoy our food, but we barely
touched it. That day stands out, because
all my others have been so joyous."
Don Ameche's happiest Christmas was
that of 1936. Don said, "It was the first
time in all my life when I could get just
exactly the gifts I wanted to give every
member of our big family. I had bought
the ranch in the San Fernando Valley near
Hollywood for my mother and father. All
my brothers and sisters, my wife and my
two babies — all of us gathered at the ranch
for the holidays and did we have one grand
time ! We had a big tree — lots of fun
trimming it — presents for everyone, the
big yule log in the fireplace. It was our
first family reunion in years. Well, I
can't recall any happier Christmas than
that in my whole life."
MODERN SCREEN
A Lady in Love
(Continued from page 25)
wood.
"But," she leaned forward, "what I did
last was the most interesting. I borrowed
the oldest clothes, and on the hot nights
I walked in the slums on the East Side.
I walked by myself and sat on the stoops
with the poor young girls. I sat right
with them. I talked with them and be-
came one of them. Now I know how they
feel, how they act. I can go back to
Hollywood hearing their voices, remember-
ing their lives, and I hope that someday
I can return it all to them.
"The taxi drivers!" She jumped up
again. "They are the nicest. I talk to
them. And they talk to me. They are
the most colorful people in -New York.
"Oh, there is so much I want to do.
I want to go to the children's courts. No
child is bad. I want to know why they
are sent away to reformatories. I want
to know everything. I want to see every-
thing. This is New York to me. I told
that to Clifford," she said. "He has been
here his entire life. He was brought up
on the East Side. They think he influences
me. He doesn't. He holds me back."
I couldn't believe that. Somehow it
seemed a case of my lady protesting too
much. There had been so many references
to Mr. Odets.
First, our luncheon date. "What will
you say," she asked over the telephone, "if
I tell you I cannot have lunch with you?
My husband, he wants me to meet him and
some friends. It is very important."
Later, when we did meet, and after
she had said in that cordial continental
way of hers, "Take off your hat. Let me
see how your hair looks."
And I had remarked the length of her
own hair, now hanging to her shoulders.
And she had said, "I'm letting it grow.
Cliff wants it so."
Or pointing to the photographs of her-
self on the bookcase. "You must excuse
all those pictures of me. This is my hus-
band's apartment."
Sometimes she refers to him as Cliff,
sometimes Clifford, often just Odets, but
always his name creeps into the conversa-
tion.
His new play. "It's wonderful. 'Golden
Boy' is the title. It is about a boxer,
but it is more than that. It is very deep."
And "I must tell you what happened in
Connecticut. If you don't believe me, ask
Odets !"
What happened was very interesting.
A LITTLE boy heard I was there. He
came to the door and inquired if I
really lived in that house. When the maid
told him 'Yes' he walked away. The next
morning on the beach he came up to me.
'Are you Luise JRainer?' he asked. When
I told him I was, he moaned, and fell into
a dead faint." She stopped, dramatically.
"I took him in my arms. After he came
to, I said, 'Look, look at me. I am like
your mother. I am like your sister. I am
no different.' From then until I left, he
sat everyday quietly by my side.
"But you see, that's the effect of Holly-
wood. They don't want you to be like
anyone's mother or sister. They want you
to be something that makes people faint ! I
don't want that. I'd rather play the part
of a slavey in one of those fine Russian
pictures than be a star in something that
is a waste of time. I feel I have so much
to give. Here they won't let me give it.
I don't want to be in pictures people see
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67
MODERN SCREEN
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because they haven't anything else to do.
I want to show them something worth
while. I don't want to be a star ! That's
why I want to leave the screen and go
back to the stage."
"Then you're not happy?" I asked.
"I am very unhappy," she answered.
"But I thought things would be differ-
ent," I said, recalling our last conversation,
one year before, in Hollywood. "You
hadn't won the Academy Award then, you
hadn't married Clifford Odets."
Just mentioning his name made her
face shine, as if a light had been focussed
upon it. "He, he is wonderful. We are
like sweethearts, not husband and wife."
Her voice grew tense. "Hollywood is
the same. I get the same salary as when
I first came there. I have two and a half
more years with my contract. I have no
choice of pictures, nothing to say about
anything. I go back now and do not even
know what part they give me to play.
"It is like prison, Hollywood. It makes
me think of the books I've read about
Siberia where they thought up a terrible
punishment. The worst prisoners are
forced to pour buckets of water into a
river. They spend their lives this way,
pouring water into a flowing river, there is
no end, no purpose. That is what Holly-
wood is to me. It is all so useless, so
futile." Her voice trembled. I thought
she was going to cry. She controlled her-
self and went on.
"They do not understand me. Not any
of them. They call me 'the shrewdest
girl in Hollywood.' That is because I am
honest with them. I go to them and I say,
'Listen, I think you are . the best motion
picture company in the world, but I do not
want to make motion pictures. I want to
go back to the stage. I promise I won't
work for any other company. I give
you my word. Just let me go back. So
they offer me a lot of money with a new
contract for seven and a half years. When
I refuse they say, 'Rainer, she is the
shrewdest girl in Hollywood.' They think
I refuse because I want still more money.
But it is the seven years. I'd rather stay
two and a half years at my old salary.
But it seems so long, such a waste. If I
leave, if I go on strike, if I go back any-
way to the stage, they can stop me by
law.
"Sometimes I like the work. I liked
'The Good Earth,' but not 'The Empe-
ror's Candlesticks.' When I wanted to be
dramatic, play the one good scene in the
whole picture, they said, 'Smile, you look
better that way.' My last 'The Big City'
is all right, but my best scenes are cut out
with a scissors. What good to do work if
they cut it away?
"And they fight with me. They want me
to do a gangster picture. I refuse. For
every week I refuse to work they add a
new week to the two and a half years, just
like a prison, a Siberia.
"I have given up my California house.
I don't want any feeling of permanence in
Hollywood. Between pictures I will fly
East to join Clifford. While in Hollywood
I will live in one big hotel room. That
will help me forget the two and a half
years. It will make me feel like I am
leaving any minute. That is the way I
want to feel."
"Maybe your husband could help
straighten out those contract problems,"
I suggested.
"Oh, no." She shook her head. "Clifford
is too busy to bother about me."
The sentence was a revelation. It plainly
showed who was the star in her family.
The name, Odets. And it reminded me of
another actress - playwright combination,
Helen Hayes and Charles MacArthur.
Helen Hayes tip-toeing around a large
apartment, whispering in an awed voice,
"This is Charlie's study.'' Charlie likes
this . . . Charlie likes that, a worshipping
chant throughout her conversation.
And I watched Luise Rainer, who ap-
peared absurdly schoolgirlish in her simple
Navy blue serge, tailored blouse and skirt,
whose face had a kind of glow about it,
about the eyes and the tremulous mouth.
I remembered Helen Hayes who had that
same look. They are both, I thought,
women in love, terribly in love. They both
really give. So I stared at Luise Rainer
as long as I politely could, stared in the
hope that I, too, could carry away a mem-
ory, that of a beautiful, little, live face.
For a woman in love is a lovely thing to
see.
Fascinating Frenchman
{Continued from page 42)
only to find it had gone. My wife and all
my baggage was on that train. Worst of
all, my wife speaks no English and couldn't
get along without me ! Finally, the sta-
tion men decided that we could take a
little car that is propelled along by push-
ing up and down on a handle bar effect.
It was freezing cold and, with nothing but
a medium weight coat and plenty of ner-
vous energy, we started out. Luck was
with us, for the train was delayed for an
hour about forty miles out, and so we
caught up with it.
"This experience taught me never to
rely on what I read in the papers. In
fact, nothing short of the rumble of guns
could make me believe a war was on
IN answer to our query as to why_ sorne
French stars are often disappointing in
American pictures, while in French films
they're good, Fernand replied, "You see,
in France the film industry is run so_ en-
tirely differently from America that it is
hard to draw comparisons. Over there
they don't have the facilities that are open
to the companies here.
"For instance, here, everything neces-
sary to make a good movie is at a com-
pany's disposal ; while there, it is hard
to do much because the limitations are so
great. It is difficult to get together the
necessary props for a scene other than
a most usual one. So French actors are
used to doing without and depending on
the story to carry them through rather
than correct and luxurious settings and
costumes.
"In America, everyone is so movie-con-
scious that the studios will do an3rthing
to cooperate toward making an authentic
picture. Making movies in France is just
another trade, like the furniture or butcher
business, and so they don't especially put
themselves out. Another unusual thing is
that only a third of the population of
France supports the films. The rural dis-
tricts are practically disinterested in them.
Their inhabitants are stay-at-homes and
seldom see the cinema. So, you see, it is
not too easy to make pictures, what with
the government limiting the cost of pro-
duction to a couple of million francs,
which, in American money, is equal to
around two hundred thousand dollars."
MODERN SCREEN
We wanted to know about French play-
ers.
Fernand smiled, and with a sparkle m
his eyes, remarked, "Of all the people who
come to America to make movies, I'm sure
that Danielle Darrieux is the most likely
to succeed. She has talent for the screen
as well as chic. She is a very shrewd
young woman, too. That counts for much
in this business.
"Simone Simon? Yes, she is good. But
she is of the type that should be given a
special sort of story. Otherwise, she _ is
at a loss. In French films, she was a wild
little thing — all appeal, who always gave
a very tender interpretation of a role.
That is Simone."
M. Gravet is in Hollywood making a
movie titled, "Food for Scandal," which
fact reminded us to ask him why there was
resentment displayed in England over his
latest picture, "The King and the Chorus
Girl." To our surprise, Fernand seemed
completely taken aback that any compari-
sons to recent historical events were drawn
which might have offended the English.
"Oh, were there objections?" asked our
French visitor, with a twinkle in his eye.
"As a matter of fact, though no one will
probably believe it, I had had that script
for over two years. Had it not been for
commitments abroad, the story would have
been done long before the Duke's mar-
riage. They changed the title in England,
you know, to 'Romance in Paris.' Even
so, it wasn't too well received and I can't
imagine why, can you?"
"Yes."
"Now aren't you ashamed of yourself?"
returned Fernand. "But, really, it is so
hard to please everyone. In England, they
fuss with me about my accent, saying,
'Fernand, be French, not English!' In
France, they say, 'Fernand, where is le
hon French?' Even in America, my di-
rector continually asks for more of a Con-
tinental accent. I thought they would
want perfect English here, so I worked
very hard to learn. But no, eet mus be
ziss, oui?" mimicked Monsieur. "I am
one of those unfortunate people who takes
on the color of his surroundings — how do
you call it — a chameleon?"
The Gadgeteer
{Continued from page 37)
out visible human agency. At the entrance
to the house, a man-servant said he would
take me to Mr. William. We were joined
by a small white dog wearing, around his
neck, a round ruffle of tin!
Skirting the long blue swimming pool,
we came at last, to a workshop, wherein
the profile compared to Barrymore's was
bent above a bench. On this bench were a
drill-press, a bench-saw, a jointer, a
grinder, a water-stone, a buffer, a sander
and a flexible shaft outfit. The hands of
Mr. William were moving deftly among
these appurtenances.
I said, clearing my throat, after the first
greeting was exchanged, "The — ah — the
little dog here, what is that around his
neck ?"
"Oh," said Mr. William, wiping the
grease from his hands, "that's just a little
gadget I rigged up to check his wanderlust.
It keeps him from burrowing his way
through hedges and gaps in the fences and
things. He can't do more than get his
nose through any aperture with that on."
"So you are a gadgeteer."
''You've caught me with the goods,
Vance," smiled Mr. William, strolling back
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69
toward the pool. "Yes, I am a gadgeteer.
I sometimes wish I weren't. They keep
coming at me all the time, ideas for new
gadgets, you know. I really never get a
full night's sleep. I have to get my rest in
cat-naps. I wake up by fits and starts to
find one of the little gadgets parked on
my chest begging to be born. It's all
very paradoxical. Because my one aim
in life is to save myself the slightest un-
necessary exertion, to do everything in
moderation. And I am excessive about
my gadgets. They defeat the very purpose
for which they are conceived.
"You see, I believe in short cuts. Here,
in this business, in Hollywood, we all
live at high emotional tension. We might
not suffer so many tragic and premature
deaths if we took things more in moder-
ation. I have made it a point, all my life,
to read all of the great philosophers. And
I have found that they are all agreed on
the need for moderation.
"Well," said Mr. William, "I believe
that to save time for leisure is the one
way to reduce pressure. We have no
social life at all to speak of. I'm afraid I
am anti-social. I spend all my spare time
in the workshop, doing things around the
place. I level the orchards. I doctor all
the trees. I invent devices. That affair
there by the pool is one of 'em."
That aifair appeared to be a mammoth
table of yellow painted planks mounted on
white painted, white-tired wheels. The
whole was covered with a yellow and
white awning. And it is. Warren ex-
plained, the chassis of an old Chevrolet,
stripped bare, painted, mounted with a vast
top (the original flooring), and electrified
so that there are plugs for percolators,
grilles, hot plates. And there you have a
perfect gadget for the serving of large
supper parties, out-of-door luncheons,
etcetera. A movable cuisine.
"Then," said Warren, "I've invented a
dog house. A sort of duplex, as it were.
The whole affair is mounted on a central
shaft. It revolves at will. The value is
that the dogs can run, every day or so, on
new grass. The usual dog house, being
stationary, allows the dogs only one stretch
of grass for a run. In no time at all, the
grass wears down to the dirt. In this
way, the grass keeps fresh and clean and
green all of the time.
"The phone at the gate is one of my
little notions. I think of the non-efifort
of my fellow men as well as my own, you
see. The phone is on a pulley made of an
old broom handle. It works on a counter-
weight. It precludes the necessity of
climbing out of the car to call the house for
admittance. I also have a small box by the
gate, ingeniously concealed, in which I
keep my key. So that, when I come in
late, I can admit myself. I'm given to
being rather careless about keys, watches,
pencils, good intentions and other gew-
gaws. What I haven't got with me, I
can't lose.
"At the back gate, I've invented a sort
of a drawbridge. It works on a counter-
weight, too. It's a huge piece of timber,
and it bars tourists from backing into my
gate and, frequently, taking parts of it
away with them."
IVE heard that you drive onto the set
in your dressing-room. Is that true?"
"Oh," said Mr. William, rather reluc-
tantly, "well, I don't like to talk about that
very much. It's beginning to be recognized
on the road. But if you already know
about it, come along."
On the way to the garage, he said, "I
hope I'm not giving you the impression
that I believe in stinting on life. I don't.
I believe in giving and giving generously,
everything in you, to what is worth while."
He stopped talking, because, all at once,
70
there it v/as ! It is a truck to all outward
appearances. Inside, however, it is a com-
plete dressing-room. In fact, it is a com-
plete apartment. The walls and ceilings
are done in a light tan lastex. The floor
is carpeted in rich dark brown. Beige
curtains separate the apartment from the
driver's seat.
Along one side of the truck stretches
a couch, upholstered in ivory leather.
Beneath the couch are compartments for
storing bedding, books, anything. Along
the other side are, first a copper wash
bowl, with running water, rods for towels,
below it a small basin. Next, a panel lets
down and there is the bar, complete with
bottles, a rack filled with bar glasses and
openers. Below this is the kitchen, a
small gas range, a cubby hole for china
and cutlery. There is the library, a deep
shelf, holding books.
Another panel lets down and becomes
the dressing table. It is faced by a mirror.
Electric lights frame the mirror. Behind
this, is a deep well in which are hung the
star's costumes. There is a desk, even a
calendar. There is a radio, an electric fan
and a ventilator in the roof. The wall
lights are covered with pieces of picture
film. In the dressing-room there is a plug
for an electric razor. The whole efl^ect
is luxurious and all done in tones of copper
and ivory and brown.
Warren said, "All this serves the purpose
of saving time and effort. I can sleep an
hour later on the mornings when I am
working. Because, you see, I do not have
to allow time to dress and make-up after
I reach the studio. My houseman drives
me. And I dress and shave and make-up
as I'm going to the studio. When I arrive,
we drive right onto the set, and I step
out of the truck, ready for work !
"On my way home at nights, I remove
my make-up and get out of my costumes.
I do not have to have a dressing-room
on the lot. Which means that I am saved
the unnecessary exertion of walking from
the set to my dressing-room, to change
costumes, to have my luncheon. We bring
food from home and it is prepared and
served right in the truck."
WE STEPPED down from the truck
and strolled toward the house. Mr.
William led the way to his bedroom.
Originally an attic room, it has been con-
verted into a long, irregular and fascin-
ating chamber of unexpected angles and
proportions. It is painted a blue-green and
the wide bed is covered with tangerine
velvet. He showed me his tower closet.
The tower is a revolving rack on the prin-
ciple of the old revolving book shelves.
It is set in an angle of the wall which
would be, otherwise, wasted space. On
the round shelves repose thirty pairs of
shoes and thirty hats. There are compart-
ments in between for numerous pairs of
socks.
In the wardrobe proper, all of the
William suits, robes, etcetera, hang from
the ceiling. And instead of those shelves
over the clothes hangers which are always
too high for convenience, he has devised
cupboards under the clothes for his shirts
and other accessories.
On either side of the bed are tall electric
lights enclosed in small cupboards. There,
lights are on levers and can be raised or
lowered at will, so that, when Warren
feels like studying his script flat on his
back, the lights can be arranged appro-
priately.
We walked back to the driveway. I
said, "Do you think we should walk?
There should be some gadget devised
for . . ."
"Don't!" laughed Mr. William, "you
may start ideas coming ! I simply must
have moderation, even as a gadgeteer !"
Good News
{Continued from page 17)
Montgomery and Rosalind Russell, living in
Greenwich Village poverty, are faced with
the problem of what to do for breakfast. Bob
asks his pal and confidant, Robert Benchley,
for a dollar. "Don't talk like that. Bob,"
says Mr. B. "It makes you sound hard."
The other day when Joan Blondell came
home from the studio, young Norman
Barnes' nurse met her at the door. She
looked grief-stricken. Joan had immediate
visions of Norman's falling out of second
story windows and such. "What in the
world is the matter?" she screamed. Almost
overcome, the nurse managed to gasp out,
"He's just said his first swear word."
Joan let out a yelp, tore to the nursery
and began yanking down all the curtains
with the Mother Goose designs and throw-
ing out all the pale blue furniture. Now
Junior has he-man furniture and crossed
baseball bats on the curtains, and Mr. and
Mrs. Dick Powell are that proud of their
son.
■ ■ ■
Myrna Loy was late for work the other
morning. So when she finally showed up
the whole cast and crew decided to hide.
She came on the set, very chagrined, looked
around, consulted her watch, looked puzzled
and finally her expression changed from
guilt to great relief. Up went the retrousse
nose and she sailed to her dressing-room
looking pretty smug. Then the whole, cast
and crew popped out at her. Some fun.
J. Edgar Hoover came on the set one
day with the sole intention of meeting the
screen's Public Enemy No. 1 — Joseph
Calleia. He caught Public Enemy No. 1
in a rather precarious situation. In his
dressing-room, Joseph was standing around
without any pants. He had just given
them to his stand-in.
Hugh Herbert went out on a spree the
other night. About dawn he began thinking
of life and all its attendant vicissitudes.
Chaos, he was convinced, was just around
the corner. Movies were but fleeting fame.
After an hour or so of serious talk with him-
self he decided that the back-to-the-land
movement was the only safe course. So he
took himself right out to the San Fernando
Valley and bought up 240 acres of land.
Next morning he went over to see what he'd
acquired. It turned out to be just 240 acres
of worthless land. But on a hillside, he
found a spring bubbling. Taking a drink
he shouted, "Wo woo, wotfa drink." Called
Francis Lederer over — he owns the next
place — and Francis was equally impressed.
Now Hugh's making plenty of pin money.
He's bottling the water and selling it all
over Hollywood. Calling it "Herbert's Wo
Woo Water."
■ ■ ■
Cowboy and Indian, 1938 version: In
the old days, cowboys pursued Indians
over hill and dale, and vice versa. But
times have changed. Take Gene Autry, for
instance. Gene is at the moment the na-
tion's Number One Cowboy. The Indian,
in his case, is George Goodale, half Chero-
kee, who happens to be Autry's press
agent. So every time the present-day
cowboy saddles Old Paint, his redskin
medicine man goes on the warpath and
sees that the item gets in the papers. Heap
big change !
{Continued on page 81)
MODERN SCREEN
Miscasting the Menace
(Continued from page 34)
the picture had been finished. It seems to
me Freddie March had enough sympathy
at the end of the story without giving him
more by making Stander lower than low.
But, once a villain, always a villain and the
dirtier the deed, the more virtuous the hero
is by comparison."
Nothing seemed to cheer Mr. Donlevy.
There wasn't a picture prospect in the
world that could lift the gloom from
around his handsome head. We reminded
him that William Powell was once a
villain and that until a year ago that fine
actor, Spencer Tracy, was a thorough-
going bad character. And look at those
two today !
The reminder didn't lift Donlevy from
the doldrums. "A mere fluke," he opined.
"A coupla mere flukes. If Tracy hadn't
been lucky enough to land that role of the
priest in 'San Francisco,' he'd probably
still be stabbing men in the back — in the
movies, of course. That's what gets me !
It takes an accident to make them discover
that a convincing villain makes a superb
hero.
THAT'S ancient history though. Go
back to the Rudolph Valentino days.
There was a man who went unrecognized
as a menace and no one since has made the
success in romantic leads that he did
when, by a mere chance, he was cast as the
hero m 'The Four Horsemen'."
Well, there seemed to be no answer to
that one and little to do but wish that
the picture Donlevy is making in England
will turn out to be his "fluke," since that
seems to be what he is looking for.
Pessimistic as Brian was, the visionary
Mrs. Donlevy could see a silver lining
around his darkest clouds. "Basil Rathbone
gets six thousand dollars a week, dear, and
for just playing villains," she reminded
him.
"Let him," replied her spouse.
"Who did you say — Jack Dempsey?" in-
quired Victor McLaglen, who had just
come over from the adjoining suite.
"No, not your hero," returned Mrs. Don-
levy. "You know, Vic is so fond of
Dempsey that he spent his four days com-
ing east on the train, preparing to meet
him. In fact, all we heard from Hollywood
to New York was Jack this and Jack
that! Well, last night was the night, our
first in town, and what a night !"
"Yeah, wasn't it great," enthused Mc-
Laglen, drawing his dressing-gown tightly
around him.
"That's Vic, understating everything,"
interrupted Donlevy. "You know, Vic
wouldn't leave Dempsey's to go to the
theatre 1 Well, he did settle for meeting us
later at the Stork Club. And when he ar-
rived he was so surprised at seeing us, he
inquired, 'Well, fancy seeing you here!'"
"That reminds me, I've got to call Jack.
Will you excuse me, folks ?" So saying,
the mountainous McLaglen made for the
phone in the next room.
"To get back to our discussion," com-
mented Donlevy, "the only reason my
producers will give for casting me as an
undesirable citizen is that I have the face
and physique of a heavy. Ability doesn't
enter into it at all. And is it my fault that
I have big muscles? I guess my brawn is
really due to a roommate I once had.
"We were in a show here in New York
and, to cut expenses, took an apartment
together. Well, this guy used to pick me
up bodily and throw me against the wall."
"What were you doing, trying to break
a lease ?" we wondered.
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Cornered at last,
and by none
other than Clark
Gable himself!
But Charlie Mc-
Carthy won't
talk. That is, not
unless Edgar
Bergen says the
word, and Mr.
B. seems too
surprised to
speak at the
moment.
71
MODERN SCREEN
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Mr. Donlevy let that go and continued,
"When the wall began to tremble, I sud-
denly realized my strength ! It struck me
funny at the time. But, he who laughs last,
begins latest or something. Little did I
realize that I was in training for a mess of
movie menaces."
And very good ones, too, in case you
remember Brian's elegant performance in
"Come And Get It," the Edward Arnold
picture. In fact, that's what did it. For,
no sooner was he marched down a muddy
street, by the vigilantes, to a waiting noose,
than his own company woke up to the fact
of his potentialities as a bad man.
"As a matter of fact," Brian remarked,
"it was right about then that I first met
Dick Arlen. You know he always plays
my parts on the screen — the ones I created
on the stage. There was to be a broadcast
over the radio between us about one of
the pictures and I was due at his house to
rehearse. I had never met Dick and so,
when I walked in we mentally squared of?,
and were ready for anything to happen.
You know professionals ! They're touchy !
"Anyway, by the time the radio people
arrived we had become such pals that the
rehearsal had to be called off 'til the next
night. He's swell and I'm glad to see him
play the roles, even though it means I
can't. At this point I've become resigned
to the fate of always kicking nice guys
and they might as well toss me a few
babies to pinch, because the public has
come to think I'm that kind of a guy. I
even get a letter now and then telling me
what bad news I am, and why ! I'm really
not a mean gent, and don't like to hurt
anyone. If only people would understand
that it's my job and I have to do it to
the best of my ability, I'm sure they would
be more tolerant."
Well, ill closing, let us say that, even
though it may be small satisfaction to
Brian Donlevy, as a menace he is one of
our very best actors. And so, we who have
the last word wish to remind him of this
salient fact, even as Mrs. Donlevy pointed
out to him — Basil Rathbone's salary !
Woman's Place is in the Heart
(^Continued from page 39)
in this business, flatter a handsome man,
offer him the one thing his wife cannot
give him — novelty. Although," smiled
Gladys, amused, "Leonard does fare better
than most when it comes to novelty ! For I
am the type actress who lives my parts,
even at home. Leonard had Carrie through
all of her phases, for breakfast, lunch and
dinner. More recently he had Madame X
pouring his coffee for him, with hands
growing increasingly shaky.
"Anyway, I just wanted to be reassured,
that's all. Kind of like a child, I guess,
who knows there is nothing hiding in the
dark but wants to hear someone say there
isn't. So I just sat down with Leonard and
we talked it all out. And then I felt all
right."
Gladys paused for a moment and then
she said, gravely, "You see, for the first
time in my life I am really in love. Ma-
turely in love. I hate to say that we are
'adults living in an adult world,' but cer-
tainly ours is an adult love. And it's silly
for adults to go about being scared of
bogey-men or women."
SHE is slim, golden-haired, amber-eyed
and chic. She is restless, nervous. She
uses her hands when she talks and she
talks a great deal, and rapidly. Tears come
into her eyes with the same frequency and
lack of self-consciousness as do smiles on
her lips. When she feels like crying, she
just cries. In the course of our conver-
sation she smiled, laughed, cried, dried her
eyes, laughed again. Most persons laugh
naturally enough. Few weep naturally.
Gladys does. No wonder that she is able
to draw tears from her audiences when her
own come as naturally as showers alter-
nating with sunshine.
Hers is a heart which has been hurt.
You can tell that by looking at her eyes.
It is a heart which has been hilariously
happy, too. It is the heart of a child. Easily
hurt. Easily healed. Made happy by small
things. She can't resist charity appeals,
whether to her purse, or her heart.
Only the other day a little girl from the
studio filing department had occasion to go
to Miss George's dressing-room. Gladys
noticed that the girl, a stranger to her,
looked down-at-the-mouth. She asked what
troubled her. The girl broke down and
admitted that her beau had given her the
gate, that she was going crazy. Gladys
George let the girl talk her heart out for
two solid hours.
The girl said, later, "It was like taking
a warm, soothing bath, talking to Miss
George. I just knew that she understood.
She didn't say much, but she was feeling
with me. I just kind of talked myself back
to sanity again. She is awfully wise."
The next day a box of white gardenias
was delivered to the girl's home. The box
was wrapped with white satin ribbon and
tied into the knot was a generous bottle of
gardenia perfume. "I'm not subtle," Gladys
says of herself, "but it seemed to me a
lovely way of reminding her that the
world is full of a number of things, many
of them lovely.
"I'm no beauty," this astonishingly
honest woman also says. "Far from it."
And she's making no bid for contradiction.
She means it.
She reads, with curling lips, specious
stories alluding vaguely to her "unhappy
childhood." She has heard it rumored that
she starved, suffered ; that her face was
mysteriously injured and remade by plastic
surgery; that her life was "saved by a
surgeon's knife." "What do they mean?"
she asks.
GLADYS' parents were theatrical people.
Her father, Sir Arthur Clare, Eng-
lish, well-known Shakespearian actor, was
knighted by Edward Seventh. Her mother,
a Boston girl, very much in the social
circles, becatne a leading lady on the stage.
Gladys, her mother and father travelled all
over the United States and Canada. She
didn't have what is known as a normal
childhood, true. They never stayed long
enough in one place for her to go to school
regularly. She never had any girl-friends.
Her playmates were character men and
women, tired juveniles, disillusioned in-
genues. Her nursery was backstage. Her
doll's cradle was the tray of a theatrical
trunk.
Her Dad was, and still is, "a darling."
But like most men who are "darlings" was
impractical, a dreamer, so that there were
what her mother refers to as "reverses,"
and what Gladys calls "our ups and downs."
There were times when she had to wear
hand-me-downs, had to make over last
year's frocks. What of it? She never went
hungry. She never felt sorry for herself.
Her whole life was lit, brighter than any
72
MODERN SCREEN
Christmas tree, by her ambition to become
a great actress.
She never had her face remade by plastic
surgery. In 1920, when she first took a
very young flier into pictures and played
in "Red Hot Dollars," with Charles Ray,
she suffered severe burns on one arm and
was forced to remain off stage and screen
for a year. The burns left a faint scar, which
she showed me. They didn't require the
surgeon's knife, and they are the sum
total of those mysterious injuries.
She said, "I've been rich. I've been poor.
I've worn hand-me-downs. I've worn
sables. And I've been just as happy one
way as the other. No one would want to
play the role of Lady Clara Vere de Vere
all the time, would they ? So, no one should
want life to be all one pattern either. 1
don't. I've had almost every experience
there is to have, good and bad."
Gladys deliberately acquired a hard-boiled
manner and way of speaking when she was
first on the road alone and on the stage
in New York. She found if to be her best
defense against unpleasant advances. She
is the despair of her mother, who will say,
with a little despairing laugh, when Gladys
is in one of her calling-a-spade-a-spade
moods, "My daughter, she's a little
peculiar, you know !"
"Mother," laughs Gladys, "lives on a
whipped cream cloud, tinted pale pink. I
don't."
NO, she doesn't. Gladys and her husband
live in a mad manner and love it.
Their home life, insists Mrs. Leonard
Penn, is nuttier than a Marx Brothers
comedy with the Ritz Brothers thrown in.
It is not, certainly, the home life of a
star, popular version. For they live in a
little rented house, this two-years-married
couple. Until recently Gladys kept no maid
at all. She did all of her own work, cook-
ing, cleaning. When she was working and
Leonard was not, he would get her break-
fast. When he was working and she was
not, she would get his.
"Money won't change us, nor our way of
living. We've had money before. It's never
been any special fun for me to have it. I
can't save, anyway. I give everything
away, fur coats, bags, dresses and things.
Know what Leonard does now? He locks
my cupboards and keeps the keys!"
They never have meals on time. They
have no schedules at all. They eat dinner
at six if they feel like it, at ten, at mid-
night or not at all. They care nothing
about going to parties or giving them.
They have no close friends among the
picture people.
Gladys said, "There was one friend when
I came to Hollywood this last time, one
person who was kind and helpful to me,
who didn't look down her nose at me and
seem to resent my being here— Jean Har-
low. Jean had too many big warmths in
her to have any room for petty rivalries.
She offered to show me the ropes. All of
them. And did. I miss her here . . .
"It's funny, though," she continued,
"how differently I used to live when I
was on the road, in New York, playing in
'Queer People,' 'Milky Way,' 'Personal
Appearance' and the others. My dressing-
room was always jammed with people,
phones rang constantly. My life was ^ a
mad whirl. I was considered dizzy, I'm
sure. I know that Leonard didn't feel, at
first, that he could keep his finger on me.
He knows better now. I've earned his
faith in me by deserving it. I've said that
women expect too much. They do. We're
always wondering whether a man loves us,
how he can prove it. Woman's place is in
a man's heart. But she's got to make him
know that his place is in her heart, too.
Everything in life should be fifty-fifty. So
should love."
No. 100— Easy
to look at, and
just as easy to
make, this
sweater sports
bandings of
merry turtles
and tinkling
bell buttons.
WHAT could be more fun than makmg
these colorful mid-winter knits either for
yourself or as gifts? Tyrolean and youth-
ful is the fetching sweater, made in the
simple stockinette stitch, with crocheted
edges of contrasting colors. The dancing
turtles, like something from a Disney
fantasy, are worked in bright wool, and the
buttons are tiny sleighbells. And any skat-
ino- outfit will be considerably brightened
up" by the addition of the little white calot,
whose tri-colored pompon carries out the
color scheme of the embroidery on the
tricky knitted scarf which serves as more
than a neck-warmer!
Send in your stamped addressed _ en-
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or both of these patterns
No. 102— The little calot is cro-
cheted, its pompons matching the
gay flowers embroidered on the
knitted scarf. An accessory set
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ANN WILLS, MODERN SCREEN
149 Madison Ave., New York, N. Y.
Kindly send, at no cost to me.
Knitting directions for No. lOO
Crocheting directions for No. 102
I am enclosing a stamped, addressed (large)
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City St.ate
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Make this tricky set tor winter warmtli
73
MODERN SCREEN
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Anita Astonishes!
(Continued from page 29)
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74
made me so ill I couldn't look at her !
"On the other hand, the role I played
in 'That Certain Woman,' though small,
did give me the chance, I feel, to show
that given a chance, I can be more ma-
ture. I've been told that I looked differ-
ent in that part. That cheered me up.
Because I didn't change my make-up.
I've used the same make-up for years. I
didn't do things to my hair. Physically,
I was as I always am. Yet people felt,
even saw a difference in me. And what
encourages me is that whatever that differ-
ence was, it came from within. It was
just that I was playing a character who
had more mature thoughts, more mature
emotions. And I hope they came through.
"You see, I'm not a sweet young thing.
Matter of fact, I never have been. I've
always been old for my age. I've always
gone with older people. I've been so much
with Mother that, naturally, I've always
been a great deal with her friends.
"And I think that, thanks to Mother,
I've had a very intelligent bringing up.
Mother is French, you know. She had
all the conservative ideas and ideals of a
French childhood and girlhood. Then she
came to America just when the modern
age was at its richest and raciest. And she
has managed to be a very balanced blend
of the old-fashioned mother and the mod-
ern mother. She never treated me as a
child, intellectually speaking. We always
discussed everything as equals. I read
everything. Mother took me to France, to
Alsace-Lorraine, to visit my grandparents
and there I assimilated some of the older,
quieter tradition.
/^^VN the other hand, she did keep me
V^closely guarded until I was sixteen.
I never went out alone with a boy until
I was past sixteen. And so, when I did
start to go out I knew pretty thoroughly
what things were all about, what to do,
what not to do.
"I can certainly say this, too, that a
girl growing up in Hollywood, in the
studios, in the movies, is every bit as safe,
as protected, as a girl can be anywhere.
I am wise, I think, we all are, because we
have seen so much, so many phases of
life, so many kinds of people. But I am
most certainly not disillusioned. I am cer-
tainly not cynical. If I doubt very much
that I could die for love it is not because
I don't believe in love, it's because I think
that, in the days of the Lily Maid, love
was all a woman had to live for as well
as die for. Today, there are so many things.
■ Love may be still the most important, cer-
tainly the most precious, but it is not all.
"I was a member of what was called
Hollywood's youngest set. I'm not a mem-
ber any longer because," laughed Anita
wickedly, "because I don't care to go
roller skating any longer ! No, seriously,
I'm no longer a member because, for one
thing, there is no younger set any longer.
Most of the old, young crowd are married ;
Anne Shirley, Tom Brown, Astrid Allwyn ;
and Paula Stone is engaged. I am about
the only one still unmarried or unattached.
They are the younger married set now.
I began, "Everyone thought that you
and Tom Brown would be . ."
"I know," said Anita. "So did Tom and
I, for that matter and I don't honestly
know, even now, why it was that we
didn't get married then. Certainly no two
youngsters were ever happier together,
had more fun together, than Tom and 1.
Now,- I am sure that it is better as it is.
I think I am older than Tom now, even
though he is older in years than I. A
girl in her twenties is older than a boy
in his twenties. I feel more mature. I
have an idea that when I do marry I
should marry a man quite a few years
older than I am.
"And I do want to get married, of
course. I hope that I won't fall in love
for another two years. I have so much
work I want to do, so much I want to
accomplish. But it's ridiculous to make
statements or prophecies about love and
marriage. I may tell you that I won't
get married for two years and walk out
of here and fall in love within the hour
and elope to Yuma tonight. Unlikely,
but possible. I can only say that I hope
I won't want to get married for two years.
"I am so ambitious, I often think that
if, before I die, I can do just one scene
as Katharine Cornell or Helen Hayes
would do it, I would be content.
"And I have my other career, too, my
harp. I work quite as hard, quite as con-
scientiously at that as I do at my work in
the studio. I think it's bad business to put
all of your eggs into one basket. I
believe in balance, something on this side,
something on that. I balance my personal
life, too. I mean, I have friends among
the picture people. I know every one of
them, of course. I also have friends who
have nothing to do with pictures. One of
my best friends is a girl who is studying
to become a designer. Others of my
friends are musicians, still others are just
girls who stay at home. I have a very
just-girl life at home. Mother and I
have a pleasant house, rented. I have my
own room. I have my girl friends in to
spend the night with me. All that sort of
usual, conventional thing. We talk about
pictures at home but we also talk about
music and the Russian flyers and the new
books and Aimee Semple McPherson and
new recipes and patterns of linoleum for
the kitchen floor.
SO, I am not only not a sweet young
thing but I am, also, a veteran. I
have been in pictures, in Hollywood, since
I was seven years old. I grew up in
Hollywood, I went to school in Holly-
wood. I almost learned to talk in pictures.
Long," laughed Anita, "before pictures
talked themselves 1
"I made my first picture, 'The Sixth
Commandment,' with Neil Hamilton when
I was five. I played in 'The Music Mas-
ter.' I did such pictures as 'Millie,' with
Helen Twelvetrees, 'Our Betters,' with
Constance Bennett, 'The Most Precious
Thing in Life,' 'Are We Civilized?' 'Swan
Song' and lots of others. Later I did
'Madame Du Barry,' with Dolores del Rio,
'The Firebird' (in which, oh goody, goody,
I played a girl murderess!), and then was
given my contract with Warner Brothers.
And here I have been ever since. At the
moment I am being another sweet young
thing, well, rather sweet and very young
in 'Tovarich,' with Claudette Colbert and
Charles Boyer.
"Now, this being a veteran at twenty-
one is, so to speak, a two-edged sword.
There are assets. There are, also, liabili-
ties. The assets are that I know what it
is all about. But all of it. I can't ever
get the big head. That is a sudden disease.
I can't ever be impressed. I can't be
flattered, frightened, disillusioned. I
should, and I think I do, avoid many of
the mistakes others have made. Because
I have been able to watch those others
and profit by their mistakes.
MODERN SCREEN
OUnq &cluarcl.
"I have watched the results of dissipa-
tion, little heads that grew too big, too
much money made too fast, overnight suc-
cesses. I have lived through the lives
and times of Valentino, Wally Reid, Bar-
bara La Marr, John Gilbert, so many
others. I have seen ingenues come and
go, before I was out of my teens. And
I am still here. I have lived through the
silents and came into the talkies naturally,
as a child who is at first inarticulate and
then learns to speak. Those are the assets.
I am not in danger of being spoiled.
"The liabilities are, that they know me
too well, have known me too long, at my
age! And because they knew me as a
child actress they cannot outgrow my
childhood! They are still thinking of me
as the little tot in patent leather slippers.
Also, there are those who do not like to be •
reminded that they worked with me when
I was little enough to sit on their laps!
Grown up, I can be an unpleasant reminder
of the passing of time.
"And so, although I have all the weapons
in my hands, experience, familiarity with
my medium, I have to f^ght double strength,
to be allowed to use those weapons.
"I do see signs of progress, as I said. I
imagine that within the next three to
four years I'll be given the things to do I
should be doing right now. That's another
problem, because three years from now I
will have outgrown (I hope) the things
I should be doing now. Not because my
looks will have changed, women t9day
look about the same from sixteen to sixty,
but because I will have changed inwardly.
I seem to be always five years ahead, emo-
tionally, of what I am given to do. With
one or two exceptions.
"I should like to do the sort^ of things
Loretta Young has done, is doing. If I
could sort of parallel her career, the
progress she has made, that is as nearly
the way I'd like things to work out as
I can tell you."
Charles Boyer, across the Green Room,
beckoned Anita Louise. She said, "I must
go now and do a little 'Tovariching' m my
best sweet-young-thing manner."
I said goodbye to the lovely Louise and
to all of my preconceived ideas about her.
She had slain them, every one, not with
her brains but with the even brighter
weapon of her honesty.
Backlor Bride
(Continued from page 35)
Knowing that they would be apart on
their first Christmas, both of them had
started propping up their chins weeks be-
fore. Each, unknown to the other, spent
hours in planning, getting and wrapping
scads of gag gifts, to try to inspire smiles
on a lonely Christmas morning. One ex-
ample : In a large and handsome frame,
Ann sent Roger the last thing he would
want underneath his Christmas tree. A
photograph of an ex-sweetheart of his.
They did manage to be together for New
Year's, bad flying weather or not. She had
eight days off. She used one of them to fly
east, six of them to be with Roger, one
to fly back. During their six days together
they had, for the first time in their married
life, more than a speaking acquaintance
with each other.
FINALLY, late in the spring, Roger had
a chance to do some of the connubial
commuting. A week between orchestra en-
gagements. A week during which, to see
Ann in the daytime, he had to sit on a
movie set, watching someone else make love
to his wife. The same maddening thing
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76
happened a couple of months later, when
he had another week between engagements.
Then, at last, Ann managed to get six
consecutive weeks off. And during two of
those weeks, she had the world's worst
cold.
"But this trip, Poppy (that's what I call
him) almost had time to decide whether
or not he liked the way Mommy (that's
what he calls me) squeezed the toothpaste.
I almost had time to decide whether or
not I liked the way he used both of our
towels, not just his. We almost had time
to start making some of the adjustments
to each other, and to married life, that all
newlyweds have to make.
"That's the most hectic thing about this
hectic first year. We haven't had the chance
to be normal newlyweds, sharing everyday
life. By the end of the first year, most
young married couples know all of each
other's faults and virtues and habits and
thoughts. They have either adjusted them-
selves to life together, or they've found
out that the only adjustment they will ever
have is maladjustment.
"But we've had so little time with each
other, and at such erratic intervals, that
we haven't been able to settle down and
discover what day-after-day life might be
like. Every time we've been together, we've
felt as if we were on a stolen holiday.
People on holidays aren't down-to-earth.
They're up in the clouds.
"We haven't had a chance to find out
if we could have a happy homelife, because
we haven't shared a home except on
Roger's two very brief visits here. We've
shared hotel suites, instead. We've sat
across from each other at breakfast tables,
and luncheon tables, and dinner tables, but
the tables haven't been our own, and the
food hasn't been from our own kitchen.
We've always been surrounded by hordeg
of people. We've never really been alone
together, day after day, evening after eve-
ning. We haven't had any real test of our
love. Separation isn't a test for love. Not
our kind. And brief holidays aren't, either.
"I live the same kind of life now as I
did before I was married. Do all the same
things, go out with the same people, order
the same meals, have the same habits.
Roger, likewise. We haven't had to change.
We haven't had to make allowances for
anybody but our respective selves.
"Perhaps that's the best possible state
of affairs, as long as we can't be together
except at irregular intervals. We aren't
brooding about our separations. Both of
us are too busy. Roger has the orchestra
to lead, and new numbers to arrange and
rehearse. I have acting to do, and lines to
learn. I've had to make six pictures this
past year. That's too many. I'm going to
put up a fight to do only three next year.
There's a possibility that Roger may be
out on the Coast with his orchestra, but
wherever he is, we're going to have more
time together !
"I don't know what the solution will be.
If Roger went back to acting, and he's a
grand actor, the solution would be simple.
Automatically, he'd be here in Hollywood.
But he has given up acting for keeps, he
says. Music is in his blood and there's no
telling where he'll be from year to year,
from now on. We both hope that it will
be on the Coast, where I'll be until this
career business gets out of my blood. I've
worked to come this far. I want to go a
little farther before I stop.
/CERTAINLY, ours isn't an ideal ar-
^ rangement or a happy arrangement.
Sometimes I feel pretty violent about it
all. Other times, I'm philosophical about
our separations. Most of the time, I don't
feel either violent or philosophical. Just
static. Waiting for the future to catch up
with us. It isn't much fun.
"I think I've always been lonely. All
my life, I've always done things by myself.
It used to seem natural. Now it doesn't.
I'm conscious of loneliness. I've never felt
close to anyone, really, except Roger. And
I've had so little opportunity to be close
to him this first year.
"But," she shook oi¥ her moodiness,
"don't think I haven't acquired domestic
impulses. I have an insane urge now to
own a home, a real home that will be
permanent. I have my eye on a little early
American house, crispy and white and se-
cluded. But I think the people know how
badly I want it. They're asking a fabulous
price.
"Yes, / am buying a house. Not we.
Roger may be living in Hollywood event-
ually, but I'm sure I'll be living here, at
least for a few years. And that being the
case, it isn't fair for him to share in the
buying. As long as we have separate lives,
and separate incomes, we ought to keep our
expenses separate, too, I feel. That will
give us both a chance to save for the
children.
"Oh, didn't I tell you? I'm planning to
have a baby, late in 1939. A boy. It must
be a boy. I'm going to be particular about
that." She smiles. And her smile has
nothing of rebellion or irony or wistful-
ness in it. She says : "I must tell you what
Roger said when he called last night. He
said, 'Here I've been married a whole year,
and I'm still in love with my wife. Stuffy
and old-fashioned, don't you think?' "
"I'm all stuffy, too," Ann added. Which
doesn't speak so badly for that hectic first
year !
Boyer Tells on Himseli
(Continued from page 31)
who knows !"
I said to Boyer, "Let's play a one-sided
game of Truth. You tell me about your-
self. It's sort of blunt, the game of Truth.
If you pretty it up it's no good. So, if
you will forgive my credulity, are you
conceited? If not, why not? And es-
pecially, how not? How do you prevent
conceit from enveloping you like a
fungus ?"
Mr. Boyer smiled, that quiet smile which
is in his dark eyes as well as on his lips.
He said, "But if you will reason a little,
you will realize how little all that sort of
thing has to do with me. They do not
know me in the least, you see, the people
who ask for autographs, crowd about me
and the other picture people, at premieres,
in the cafes. They do not know what I
am really like. How could they? There-
fore, they cannot really know whether
they like me or do not like me. If it
is. my screen appearance they are attracted
to, I can say only this. If I were a doctor
or a lawyer, looking just as I look now,
I would have come out of the theatre and
no one would have turned a head to look
at me. So, with a little reasoning, there
is no place for conceit. It comes, the at-
tention, only because I am a public char-
acter, publicized. It has nothing to do
with what I am.
"And for me, there could be no ex-
cuse to be conceited. I have worked for
MODERN SCREEN
quite a long time. I have known some
success in Paris. (I remember Maurice
Chevalier saying of Boyer, "He could have
had any woman in Paris, any woman in
France. They were mad for him, all of
them, everywhere." And when a man
says that about another man ! ) I have
come to Hollywood before," Boyer contin-
ued, "and I have known no success at all.
I have gone back to Paris, more than
once, thinking that the screen was not to
be for me. With me it has been a series
of sips, not the one sudden draught to go
to the head. I would not blame those
who become stars overnight for getting the
big head. That is understandable and for-
givable. I admire young _ Taylor very
much because he has remained unspoiled
and natural when, in one year, with no
theatre behind him to prepare him, he be-
came the tops. With me, it has been differ-
ent."
"How do you rate yourself as an actor?"
Mr. Boyer shook his head. He said, "To
say that I play all types, as an actor should
be able to do, would sound too pretentious.
I can say that I like best to play dramatic
parts. I consider that I have the face,
the build, the personality best suited to
dramatic parts. Not that I dislike the
comedy. It is the most difficult to do of
all things. But I am more at home in
drama. Most of us are limited by our
physical type. So am I. I could not play
the fat Falstaff, I could not play Henry
the Eighth, or one of the Louis. It is
not only a matter of the make-up. It is
a matter of the man. I could not be those
men."
"Have you a Napoleonic complex?" was
my next query.
"No," said Boyer again, "I am one actor
who never wanted to play Napoleon, on
stage or screen. Mr. Thalberg asked me
to play the part well over a year ago. I
begged, then, to be excused. I did not want
to play a character about which there are
so many preconceived ideas. It was too
difficult an undertaking.
"And it is by far the most difficult, part
I have ever played. In every way but
one — Garbo ! She made it delightful on
the set because she is delightful to work
with. She is easy to work with. She
is stimulating. She is generous. She is
unbegrudging about everything. I had, of
course, no fear of working with her. We
had met before. But the experience was
even more worth while than I had thought
it would be. She has a face upon which
the least thought, the least emotion, is
written.
"Everything went so well, so without
hitch, or temperament or upsets of any
kind that there are really no anecdotes to
tell about it. I am very bad, anyway,
at telling stories. I am not successful as a
raconteur. I would never do," laughed
Boyer, "travelling in your club cars with
your travelling salesmen. I would not have
the stories to swap with them. So, it was
a happy time. Very friendly and very
much fun. Miss Garbo likes to retire to
her dressing-room between scenes, at the
luncheon hour. But I do not find that
strange or unfriendly, for so do I. When
the day's work is done, she does what
you call 'scram,' as you know.^ But so,
again, do I. While she is working, she is
sociable, friendly, and there is no more
to be expected.
"It may interest you, the way we ar-
rived at my make-up for Napoleon. We
took a death mask of Napoleon and the
studio then had made a mask of my face.
From the death mask to my face the
transition, after many experiments, was
made. A very slight transition. The pro-
ducers felt that the fans should be able
to recognize me, that Bonaparte should not
completely obliterate Boyer ! And so we
did very little, really. We changed my
nose, not very much. We lengthened my
chin.
"I carried my head like this for the five
and a half months we were in production"
— and he illustrated by ducking his chin
into his collar and holding it there —
"and I have now," he laughed, "to use
shadows to take away the chin I worked
so hard to get! I keep forgetting to hold
the chin up.
"I have eliminated, in the picture, some
of the more famous Napoleonic poses. I
do not stand with arms folded on my
chest. I do hold my hands in back of me
and flip my coat-tails, but that is because
it is a natural gesture for any man wear-
ing those costumes — there are no pockets
in them. I did a great deal of research,
read many books on Napoleon, especially
on Napoleon, the man. Because, in 'Con-
quest,' you see him much more as the
lover than as the soldier."
"Do you consider that you have any
one outstanding quality in your work? Al-
most every actor suggests one quality,
one emotion. Gable, for instance, suggests
virility ; Spencer Tracy, a rugged, rock-
of-ages strength, and yours?"
"Sadness," laughed Mr. Boyer (his
laughter is low, muted, in key with his
speaking voice and with his personality).
He seemed amused at the question, more
amused at his own answer. "I think,
perhaps, I express sadness better than I
do any other emotion."
"What is your greatest virtue?"
MR. BOYER thought and thought. He
said finally, "I suppose I may say
that I try not to cause inconvenience to
others if I can possibly help it. I try
not to have little annoying habits at home,
whistling to myself, things like that. I
try, always, to be punctual. I am always
punctual on the set. I know my lines. I
just try to avoid irritating others. I sup-
pose that is my best virtue in private life
and in my work."
"Your greatest fault?"
"As an actor," smiled Charles Boyer,
"or as a man?''
'Well," I floundered, thereby losing the
chance of a lifetime, "as an actor?"
"There is a very large selection to choose
from. I am not pausing now because I
am the perfect man, without faults, but
because I have so many. I think my
worst fault is my very annoying habit of
always rehearsing over and over the scene
we have just shot. Instead of rehearsing
the scene which is to come, which I should
be doing, naturally, I go crying over spilt
milk. I am worrying over something which
is done and cannot be done again. I
make myself and those about me very
unhappy. I cause the very trouble I try
to avoid. I cannot seem to correct this
vice.
"This very morning I have gone over
and over the first of the day's scenes of
'Tovarich.' It is all in the box but I keep
going over it, adding bits of business, tor-
menting myself. I have a faculty for
torturing myself. My other vice," said
Boyer, lighting his tenth cigarette in as
many minutes, "is that I am what you call
a chain smoker, as you may have noticed.
I am an endless chain of cigarettes, es-
pecially when I am working. I smoke
less when I am at home. But that is be-
cause, perhaps, I am more active with
my hands at home. We play a great
deal of tennis, ping pong. Yet I am hap-
piest when I am working. I feel less
nervous then. I am healthiest when I
am working, always."
"Are you temperamental?" the questions
continued.
"Not outwardly," Mr. Boyer said. "If
you mean do I have flare-ups, fits of rage
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when I lose my collar, walk off sets, make
scenes not called for in my scripts, no.
No, but it might be better for me if I
did. I would then get things better out
of my system."
"Are you the modern or the old-fash-
ioned husband? You know what I mean."
"I am not sure what you mean," Charles
Boyer said, smiling, "but I. think you mean
how do I feel about my wife, about whether
she should work or stay at home. I
think I am the modern husband. I have
no objection to my wife working if she
wishes to work. I believe it is better for
a woman to be busy with some work than
to be busy only with her thoughts. There
are many Satans glad to find mischief for
the idle thoughts of idle women. I am
perhaps old-fashioned in believing that
when children come they should be the
work to keep the woman busy. I should
like 'to have children."
"Would you call yourself, well, domesti-
cated?" (I hesitated because it did sound
so ridiculous, asking that question of Boyer
— in evening clothes, very smart, smoulder-
ing dark eyes seeming almost to burn the
wreathing smoke away.)
HE said, "Half-and-half. I like to
spend time at home, but not all the
time. I am not anything of the recluse. I
like to give dinners at home for our
friends. I like also to go to dinners occa-
sionally, at the homes of friends. I like
to dance, occasionally. My wife likes very
much to dance and so we do, now and then.
"I am not, what you call in America, a
good mixer. I grow to know my friends
rather slowly, carefully. I believe that a
friendship, to be real, requires time. I
name my real friends only among those
who were my friends before I came, the
last time, to Hollywood. People I meet
now, people who are very kind and flatter-
ing and congenial, I cannot say are my
friends. Yes, I am of a cvnical turn of
mind. I do not take people on faith. I
realize that there are many of my ac-
quaintances today who, if they thought
I might be visiting them to ask for a job,
would not be at home to me.
"But I am a social animal, or do I say
a sociable animal? I have no desire to
go_ back to the land. I like cities. I like
noise and excitement. I like life and to
be a part of life."
I said, "Have you any special fear of
anything?"
"Sickness," said Mr. Boyer, "and old
age. I am not afraid of death. That
is finality. I cannot concern myself with
what cannot be helped. But I am afraid
of sickness and of old age, which is physi-
cal humiliation."
"Are you," as the shadow of the as-
sistant director loomed, "clothes-con-
scious?"
"For myself, I should not say that I
am exactly clothes-conscious. I like good
clothes. And I am conscious, I should
say I am observant, of clothes. Particu-
larly," smiled Mr. Boyer, "observant of
women's clothes. I notice them very much.
I always know when my wife wears
something new, a gown, a hat, a wrap,
even a pair of shoes or a jewel. I have
trained myself to this. It is one of the
ways to be a successful husband."
"Are you particular about food?
Fussy?"
"Yes. Very much. But we have at
home a French cook. She knows what I
like and how I like it and so there is
no difficulty."
"Are you musical?"
"I have played the violin," laughed
Charles, "but that is, fortunately, past. It
sounds too pretentious, perhaps, to say that
I love Chopin. But I am, also, very fond
of modern American music."
The hovering assistant director hove
right into the dressing-room. He said,
"They are ready, Mr. Boyer."
Smoothness Is the Word for Beauty
(Continued from page 41)
sour cream. Slice the beets thinly, sprinkle
with a little salt and pepper, and add one
heaping teaspoonful of the cream. The re-
sults are far from dreary, if you like tasty
foods.
That's another thing which seems to
keep plump folks from dieting. People
who like flavorsome, highly seasoned
foods declare they'd rather not eat at all
than go on any sort of plain, drab, un-
seasoned diet. Most diatribes on diet tell
you to cut down to almost nothing on
seasonings for two reasons : tasty things
tempt you to eat more. And seasonings do
stimulate the gastric juices and make you
hungry. But can't we be reasonable about
this thing? Haven't you enough will
power to stick to one moderate serving of
a thing, no matter how good it tastes?
Leave the table a little bit hungry. That's
the first rule for losing weight.
These seasonings are harmful to neither
fat or thin, if used in moderation: celery
salt (in fact it's good for you), curry,
grated onion, garlic, bay leaf, cloves,
horse radish, mint, lemon juice, paprika
and pimiento. Salt and black pepper
should be used in strict moderation.
Tips for the underweight : you should
have a big serving of two starches a day.
Hot cereal, often with bananas or figs and
sugar and cream in the morning. Po-
tatoes, rice or noodles at dinner. Don't go
in for fried potatoes, however. Have them
boiled, creamed< mashed, baked. Fried
foods, though fattening, true enough, are
also hard to digest. So are the very rich
sweets.
Corn is a fine, fattening vegetable and,
of course, here it is winter and no corn on
the cob. But you can have a corn pud-
ding, which is simply delish and which I
don't need to tell the southern gals about.
However, northern, eastern and western
girls, you take two cups of corn kernels.
Get the dry-packed canned corn. Two
eggs, lightly beaten. Two and a half cups
of cream or rich milk, scalded. And two
tablespoons of melted butter. Add the
cream to the butter, then the eggs, then
the corn, stir well, pour into a buttered
baking dish and pop into a moderate oven.
Cook till a nice pudding consistency.
I can't spend much longer on the diet
part of this effusion, because I wanta say
something about make-up and clothes, but
first let me give you a trick for dolling up
that despised green, spinach, and then I'm
through.
IF you get a kick out of taking some
homely greens and making them tasty,
you'll not find this any trouble. Get about
three pounds of fresh spinach — more
wouldn't matter. Wash it. Did you know
that it's much more efficient to wash spinach
in hot water, with a spray, and it doesn't
hurt the spinach? Try it. Cook the spinach
as you ordinarily would. Then pass it
through a sieve — that's the boring part of
78
MODERN SCREEN
NEW KIND OF
CAKE MASCARA
the recipe. Take three eggs, beat them
well, add half a pint of cream or rich milk
a stick of melted butter and the pureed
spinach. Turn it all into a buttered baking
dish and set the dish in a pan of hot water
to bake in the oven. It takes about twenty
minutes. When it begins to look puffy on
top, it's done. Sprinkle generously with
grated cheese and run it in the oven another
moment for the cheese to brown. It's good.
And now, by golly, that's enough about
eating. If you wish to be a smooth-looking
person you know the skin must be good
and well-tended, the hair likewise, the nails
never neglected and all the rest of it. I.m
not going over the fundamentals again.
However, there are many tricks of the
beauty trade that one needs to know.
About powder, now. Have you ever tried
using two shades, treating one of them as
rouge? To experiment in the least ex-
pensive way, get two ten-cent boxes of a
good powder from the dime store— one in
the shade you usually wear, the other m
a dark shade. If you're unattractively
prominent where you wish you weren t
(like around the nose), try using the darker
powder on the nose, the lighter powder
everywhere else. If your chin has a
tendency to slide away, try a lighter powder
on the chin. In general, let me warn you
against using a too-light powder. In the
summer, we are all pretty careful about
this. But come cold weather, we think
it's okay to go back to the pale rachels and
flesh tints. As a matter of fact, a hght
powder plus cold weather will make one
look blue around the gills and mauve
around the nose.
Eyes, now. An awful lot can be done
about eyes in the quest of smoothness. You
know about plucking eyebrows— only the
tiny stray hairs underneath, and most
judicious pruning if your brows grow too
close together. Heavy brows are fashion-
able, so except for the above two points,
don't pluck. Very heavy brows should be
brushed up, and then brushed into line with
a touch of brilliantine. Thm, scraggly
brows should be made up thisaway : In-
stead of drawing a hard, unnatural line on
them with pencil or dabbing futilely at
them with mascara, put a little cold cream
or vaseline in the palm of your hand. Into
it rub quite a lot of soft eye pencil or
mascara. It's messy, but you'll find that a
brush very delicately dipped into this oily
substance and gently feathered across your
brows will make them look more natural.
For brows which are light, but thick enough
for practical purposes, mascara is the most
helpful coloring agent.
For gala occasions, experiment with blue,
green, or the mascaras with a bit of gold
or silver in them. If you're lucky enough
to own a gold or silver evening gown,
mascara to match, judiciously used, and a
touch of brown or green eyeshadow should
have enough smoothness, not to mention
sex appeal, to knock the male sex all of a
heap.
THE smoothness of your hair depends
upon you. If you're handy with the bob-
bie pin, the water-wave comb, the curling
iron, the waveset lotion — well, you can do
anything you please with your hair. You can
have it page boy, banged, rolled up here
and there in fascinating swirls and curls.
Some people have this knack. Others
struggle and slave and come out looking
as if they'd combed their hair with an egg
beater. They must do one of two things :
stick to the simplest of coiffures that is be-
coming to them, or be prepared to spend
money and time at a good beauty parlor as
often as they need attention. And no put-
ting it off till next day or next week be-
cause you'd rather go to the movies or
have spent all your dough, either. Not if
you want to look smooth.
Personally, I'd take the simple hair-do.
First, because it saves money which can be
put into good-looking clothes. Second, be-
cause you won't have stickum put on your
hair when you don't want it. And third,
because • very few hairdressers have in-
dividuality. Most every gal that depends
upon the beauty parlor for hair smartness
looks pretty much like every other gal.
The chief secret of being a smooth per-
son "all over" — make-up hair and clothes
— is, once again, simplicity. Never clutter
up your effects. One detail of your cos-
tume (in addition to its cut and fabric) is
all that's necessary to command attention.
Do you remember, in "Stella Dallas," when
Anne Shirley was trying on the party
dress? Barbara Stanwyck wanted to put
an artificial flower at the belt— "to give it
a little snap," she said. "Oh, no, Mamaj
Not with all the lovely handmade ruffles."
Stella thought her daughter "just as plain
as an old shoe, like her pa." But daughter
was right. No one can tell you exactly
when a bit of trimming or accessory is
right or wrong and why. You've got to
learn it yourself. A safe rule to follow is,
"When in doubt, don't."
Another time-worn rule for smoothness
is that one about buying the best you pos-
sibly can instead of as many as you possibly
can. Kay Francis declares she doesn't care
a great deal about clothes. Yet, there she
was last year, with her picture in all the
papers as one of America's best-dressed
women — certainly the best-dressed woman
in pictures, both on screen and off. Kay
Francis buys almost all her things in Paris.
Sure, she can afford it, you say, and what's
that got to do with me? Well, even though
Kay doesn't want a lot of clothes and cares
not one whit for fancy things, when she
does buy a suit or gown or hat, some-
thing instinctively fastidious in her makes
her want it just right. If she isn't dressed
in the very best, she'd just as soon be
comfortable in old slacks and sweater. You
can't jaunt to Paris for something to cover
your bones, and you needn't. But you can
choose the good rather than the showy and
sacrifice a yearning for variety for the
sake of one good suit or a black dress that
is really sumpin'.
Merle Oberon is a lovely thing. Amer-
ican fans aren't nearly as warmed up to her
as they might be if she didn't have to keep
jumping over to England every now and
then. However, we do like her much bet-
ter, now, as her own self— a nice English
girl with lovely eyes and soft dark hair and
a sweet manner, than we did as a phoney
Oriental type. She was perhaps more sexy
and alluring, in her earlier pictures, but
she wasn't natural, and we knew it. And
that, my dears, is just another example of
the other rule for smoothness : be yourself.
Don't try to change your external, physica'
type in any radical way.
Well, what about Carole Lombard? Do
you remember the Lombard of less than
five years ago? She was a clothes-horse.
She was darn near a dizzy blonde. Then
came the change. Carole made "Twentieth
Century" with John Barrymore and^ ever
since then she's been a personality — a
steadily improving, interesting actress — and
a sure-fire comedian. Her clothes are ele-
gant, her appearance is always smart, sure,
trig and trim instead of being slightly dizzy.
What gave Carole her boost along the
road to being a more intriguing, smooth
individual? A good break and a chance to
do something that no one thought she could
ever do. That's what did it. Nowadays
Carole gets first crack at good stories and
her salary has soared sky-high.
It's not too much for you to hope that
you'll get a change, and a break and a
chance one of these days. But be ready for
it when it comes. If you've got what it
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79
MODERN SCREEN
JOAN PERRY
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Between You 'n' Me
{Continued from page 63)
Women" owe the entire nursing world an
apology. — Frances Adley, R.N., Pitts-
burgh, Pa.
$1.00 Prize Letter
Plea for Real-Life Pictures
I didn't just sit and watch "Dead End"
for the fun of it — I lived it. Just as surely
as if I'd been one of them, I felt the ter-
rible, mocking contempt that those poor
kids felt for the idle rich who were con-
tinuously flaunted before their eyes. I,
too, knew the awful bitterness of the
gangster. Baby Face, who came back to
the place of his birth to find some trace
of the love he once knew, and found in-
stead only hatred, disappointment and
death. I, too, felt the weariness and the
heartaches of his old mother who had
given hirn birth, but who had grown to
despise him.
I take off my hat to Hollywood for pro-
ducing the most realistic, honest-to-good-
ness human vehicle I've ever witnessed on
the screen. Let's have more pictures like
this. In other words, let's have more life
as it really is.— Marie Walker, Trenton,
N. J.
$1.00 Prize Poem
Taylor Talk
Someone mentions Taylor,
My face turns very grim.
"Find someone else for gossip,
Anyone but him."
He's pasted on the billboards,
His name's on every tongue,
The girls' hearts go much faster,
Because he is so young.
Then people look disgusted.
When I say I hate him so.
"He'll do me no good anyway.
With Barbara on the go."
But when no one is looking.
My magazines come down.
My fingers turn to Taylor's page
And then I go to town.
I look at all his photographs
And stare into space and sigh.
There's not a better man on earth
I to myself say I.
So no one knows the honest truth,
Or will ever get the chance
To dream of what I'd ever do
If he asked me for a dance.
— Thelma Peterson, Bayside Long
Island, N. Y.
$1.00 Prize Letter
Scarlett O'Hopkins?
Why all the to-do over who's going to
play Scarlett O'Hara? Why not give the
movie fans a treat and show us a new
face that we can think of as Scarlett — not
an actress who stamps every role she plays
with her own personality.
If a new actress were chosen and no
advance ballyhoo spread about her, think
what a sensation the picture would cause.
Curiosity about the unknown, if nothing
else, would draw people to see it. Every-
one has his own idea of Scarlett, but put-
ting someone like Miriam Hopkins or
Paulette Goddard (she seemed to be "it"
once) in the role, we all know how either
one _ of them would play it and some of
us just hate to see how right we are. —
Carter Harrison, Hopewell, Va.
$1.00 Prize Letter
Star Doubles
I wonder if other fans ever indulge in
the thankless but amusing whimsy of
keeping an ever-searching eye open for
people who resemble movie celebrities?
Why, I often roam through the five-and-
ten just to get a gimpse of the clerk who
is so much like Ann Harding that cus-
tomers stand and gape in awe. I have two
dear friends who resemble Katharine Hep-
burn and Connie Bennett, respectively. I
could rave on, but after all you wouldn't
be interested in local doubles whom you've
never seen, so I'll limit my mental com-
parisons to the screen :
Jane Bryan favors the Nancy Carroll
of earlier days.
Julie Haydon reminds me of Ann
Harding.
Andrea Leeds is a lot like Olivia De
Havilland.
Frances Farmer could be Madge Evans'
sister.
Helen Mack is another Frances Dee.
Dorothy Lamour could "stand-in" for
the Duchess of Windsor.
Doris Weston, thanks to Warners' "sub-
stitution" department, was chosen to look
like Ruby Keeler, which she does — and to
take Ruby's place, which she doesn't! —
Mary Padgett, Quincy, III.
I Corner on Xmas Pie
(Continued from page 12)
juice and rind of 1 lemon
1 tablespoon butter
rich pastry for large 2-crust pie
Place raisins and cranberries in saucepan.
Add sugar and boiling water. Cook together
five minutes. Alix flour, cornstarch, salt
and spices. Add to beaten egg and beat well.
Combine with a little of the hot fruit
mixture, then add slowly to remaining fruit
mixture in saucepan. Continue cooking five
minutes longer, stirring constantly. Cool.
Add lemon juice and rind and turn into pie
plate lined with unbaked pastry. Dot with
SO
butter. Moisten edge of lower crust with a
little cold water. Lay top crust over filling.
Trim off surplus pastry around edge of pie
plate. Press and flute edge with floured
fingers or tines of a fork. Cut slits in a
fancy pattern in top crust to let steam
ercape. Bake in hot oven (425° F.) fifteen
minutes. Reduce heat to moderate (350° F.)
and bake ten to fifteen minutes longer or
until crust is delicately browned. If a shiny
top crust is desired, brush crust before bak-
ing with egg white slightly beaten with one
tablespoon water. A lattice crust may also
MODERN SCREEN
be used instead of an entire top crust.
THAT combination of fruits sounds in-
triguing, doesn't it? And the recipe as
outlined, step by step, if followed in the
same orderly fashion (measure accurately,
mix as directed and don't cheat!), is really
a cinch.
By the way, if you're looking for a per-
fect fruit cake to have on hand when
company drops in, here's a grand recipe that
Dorothy's mother — from Alabama, suh —
raved about. It's not one of those cakes that
you have to make up 'way ahead of time
either to let it "ripen." No, you can eat
this one the day it's baked, a fact which
sounded so good to me that I tested it
forthwith with most gratifying results.
Here 'tis :
TODAY'S FRUIT CAKE
2J4 cups sifted flour
teaspoon nutmeg
1 teaspoon cinnamon
1 teaspoon salt
cup butter or other shortening
1 cup sugar
1 egg, beaten
1 cup strained unsweetened apple sauce*
1 teaspoon soda
Ya cup water
Yz cup seedless raising
Ya cup finely cut pitted dates
Ya cup finely cut candied pineapple
Ya cup finely cut candied cherries
Ya cup finely cut candied lemon peel
Y2 cup chopped nut meats
Sift flour, measure. Add spices and salt
and sift again. Cream shortening thor-
oughly with the sugar. Add beaten egg. Add
apple sauce. Dissolve soda in the water
and add to apple sauce mixture alternately
with the flour mixture. Just before adding
the last of the flour mixture stir into it the
fruits and nut meats. Turn into two small,
greased loaf pans and bake forty-five min-
utes in a moderate oven (350° F.).
*If sweetened apple sauce is used, then cut
down slightly on amount of sugar.
Good News
(Continued from page 70)
We dropped into Adrian's studio recently
to witness his latest fashion show. There
were cocktails and twelve gowns, all with
titles, ranging from "Where's the Moon?" to
"Don't Like Parties." We don't know much
about fashions, but we suspect that the most
admired gown was one called "Second
Wife." It was sophisticated and quite deco-
lette, and when a model came forth with it
we detected a low, masculine whistle in the
row behind us.
With but three or four days work left
on "True Confession," Carole Lombard
phoned the studio that she was ill and
would need a couple of days rest. "Okay,"
said the studio. That afternoon someone
saw her out riding with Clark Gable. So
the studio phoned her, told her about the
incident, and asked her how she felt.
"Okay," said Carole. Next morning she
was back at work.
The Children's Corner: The other evening,
come praying time, Mrs. Dick Arlen was
having trouble with her offspring. "If you
don't say your prayers nicely," she warned
him, "you'll never be a great man." "That's
all right," said young Mr. Arlen, "I only
want to be an actor, anyway."
Aren't the Stars Wonderful ? Dept : Over
at Paramount there's a foreign importa-
tion, Isa Miranda, for whom the studio has
great hopes. First step in the career of
a great hope is publicity, and the pub-
licity purveyors forward this about Miss
Miranda. Recently she was shown a
selection of portrait pictures which had
been taken of her a few days before. Miss
Miranda destroyed them all. "They are
too beautiful," she said. "I want the public
to love me for my characterizations." Ho
hum.
■ ■ ■
Ronald Colman, along with Herman the
Hermit, has a Hollywood reputation of being
something of a recluse. He is seldom seen
around and he practically never attends
parties. His romantic interest has remained
constant, however. The young lady is still
Benita Hume, and of late they've been
stepping out a bit. . . . Their favorite haunt
is Ted Snyder's, the musician's hangout.
Snyder's is a private club, membership be-
ing restricted only to those who have the
price of a pair of highballs.
Interesting to note the recent change in
Nelson Eddy. A year ago, Nelson - was
the coldest and most aloof baritone you
could shake a candenza at. On the set he
kept to himself, and visitors went away
feeling he preferred his own company to
any other. But today, all that is changed.
Mr. E. is friendly and affable, and even
takes time out to have himself some fun.
One evening, for instance, he made the
rounds of the night spots with Woody Van
Dyke and Frank Morgan. At the last
spot, strictly a joint. Nelson got up and
favored the customers with a couple of
songs. So now everyone wonders who
gets the credit for the defrosting process.
We say it's a toss-up between Director
Van Dyke and Charlie McCarthy, whose
radio hecklings have done plenty for
Nelson's popularity.
Speaking of McCarthy reminds us of W.
C. Fields, whom we visited on the set of
"The Big Broadcast" the other day. Watch-
ing Fields is always a pleasure because no
one, including the director, knows what he's
going to say. Scripts mean nothing to him.
If he thinks of a better line in the middle of
a scene, he uses it. Incidentally, the real
reason he dropped out of that radio show
was that he was dissatisfied with the ma-
terial provided for him. You've got to be
good to follow Master McCarthy.
Now that "Women Have a Way" is
finished, Miriam Hopkins can sit back and
relax. For one scene in the picture she
spent three days in a bathtub. 'The gentle-
men of the press evinced considerable in-
terest in the picture during that period, but
Miss H., unaccustomed to public bathing,
had the set closed to visitors. For other
scenes, when she plays an arty young lady
in Greenwich Village, she had to spend
two hours every morning having her hair
Don't
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stores listed
below use this
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of the correct
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while standing. The store, with the aid of the
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WARNING : Measure is accurate only for Wee
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Wee Walkers have every practical feature of ex-
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change to new ones often, as baby feet grow very
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H. L. Green Co., Inc. (F & W Grand Stores, Isaac Silver and
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G. R. kinney Co., Inc. Sears, Roebuck Charles Stores
Schulte- United stores . -.
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We believe that
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81
de-curled into a straight bob. But now it's
all over, Miriam's hair is curly once more
and she's gone back to her old hobby of
bathing by herself.
Gracie Allen vigorously denies the slurs
on her sobriety which popped up at a re-
cent party. Gracie showed up at the affair
with an orchid perched in her hair, and
people began to talk. Gracie says she
knew the orchid was there all the time, in
fact, she put it there and considered it very
stylish. And Gladys Swarthout will back
her up, because Gladys started the fad her-
self over a year ago. So there.
Out on the "Bad Man of Brimstone" set
there's a group of men who call themselves
the Old Timers' Club. Most of them have
been in pictures since pix first started.
They work only when a chance comes in
the movies, and mostly in western pix.
Never shave, but they do wash occasion-
ally. Have a club house downtown, up-
stairs in a dirty room on Main Street.
Never have more than two dollars in the
treasury and spend their meetings just talk-
ing about old times.
When Bing Crosby was coming through
Texas not long ago on the train, the con-
ductor remarked to the engineer. "We've a
famous personality on the train today. It's
Bing Crosby!" "Who's that?" asked the en-
gineer. "Him?" gasped the conductor,
"Why, Bing's that famous movie lover."
"Well, won't make any difference in Texas,"
said the other, "this is a Gable state."
While visiting the set of "Accidents Will
Happen," we talked to William Hoover,
who has a role in the picture. William
wasn't feeling any too happy, since he'd
been getting bum breaks all through the
day. Hoover looks enough like Edward
Arnold to be his twin brother, so Director
Clemens would say in every scene, "Sorry,
you'll hav° to move to the background,
Hoover. We can't have it assumed that
Edward Arnold's playing an extra in this
picture." The likeness does him good, of
course, in that he's Arnold's stand-in, when
the star is working, but Hoover would also
like a career of his own.
IsG Miranda, the lovely Italian gal, was
going to be interviewed by a reporter from
the East. They met for the first time on the
set, and the newspaperman, speaking slow-
ly and distinctly, in deference to Isa's limited
knowledge of English, told the star that he
had come all the way from Philadelphia just
to interview her. "Ah," said Isa, smiling gra-
ciously, "but you must not let that embarrass
you. Not with me, please. For to me, you
speak the English very nicely."
Rosemary and Priscilla (Pat) Lane are
buying a big home out in the valley right
near Lola's place. They'll live there with
their mother, who's a combination mother-
secretary-confidante and general amuser.
Cora is such fun that the beauteous Lane
gals don't care whether they go out or not
at night, they have such a swell time just
sitting around at home. Jack Warner, Jr.,
incidentally, has given up that cute USC
co-ed for Pat's sake.
Is Martha Raye burnt up? It all started
when she saw that diamond ring on Lana
Turner's finger. The diamonds spell out
"Dearest," and Buddy Westmore gave it to
Lana. But they say Martha had given that
ring to Buddy as an engagement present.
Marlene Dietrich is due back in town the
first of next month. And here's a tip to
the fashionable femmes of the movie colony.
Marlene is prepared to give you a big run
for your money. She's arriving with
eighteen trunks full of Paris clothes and
not a pair of trousers in the lot ! Most
interesting note, however, is that Marlene
will be wearing her own eyebrows.
Ralph Bellamy's always been one of the
most dependable screen actors, but he's
never won star ranking. But in the business
field, Bellamy's leading every man in town.
You know what a success he's made out of
Meet Zorina, Europe's loveliest
ballerina and one of the eye-
fuls to entrance you in "The
Goldwyn Follies." She first
won fame as star of the famed
Ballet Russe.
that Palm Springs Racquet Club, which he
and Charles Farrell jointly own. And
now he finds himself owning major interest
in a Louisiana oil gusher. He was ap-
proached with an offer to buy in on the pro-
posed oil well while working on "The Awful
Truth." In the picture, Ralph plays a mil-
lionaire oil operator, so thinking it a good
omen, he invested in the stock. When a
wire arrived saying the well was actually
brought in, he obtained a four-day leave
from being a screen oil tycoon and flew to
Louisiana to enjoy being a real one.
Madge Evans is scared stiff of auto-
graph hunters these days. The situation
wasn't so bad in Hollywood, but when a
girl gets out of town she's in dangerous
territory. At a theatre in New York, for
instance, enthusiastic fans followed her
right into the ladies' room, a situation
which proved more than startling to a
group of gals engaged in powdering their
noses. In Chicago, on her way back to
Hollywood, fans chased La Evans onto the
wrong train. Fortunately, it wasn't going
anywhere, and Madge was able to sneak
out another door and catch the Chief be-
fore it got away without her.
It looked like Old Home Week on the set
of "She's Got That Swing" the other day.
Ann Sothern, for instance, was sitting in an
old-fashioned rocking chair, knocking off a
bit of knitting. We asked her how come,
and she told us the rocking chair was her
personal property, she uses it on every pic-
ture. In fact, she pointed out three more
rocking chairs on the set. Seems the rest
of the cast liked the idea, so Annie bought
up a supply.
When she appeared on the radio recently,
Anne Shirley asked for her check during
rehearsal instead of waiting to have it
mailed to her. Thinking the poor gal was
broke, they gave her the check and Anne
rushed out between rehearsal and the show
and bought her mother a new car.
Have you heard about that movie star
who loves to spread on culture at the slight-
est provocation? Dropping in at the script
department the other day to see how things
were going on her new picture and give a
few helpful suggestions on the writing, she
found the scenarist deep in a Roget's
Thesaurus. "I don't blame you for reading
that on studio time," she gurgled, "a beau-
tifully written book!"
Some of the fans have peculiar ideas on
autographs. At a preview the other night,
Clark Gable was painstakingly writing his
name on a girl's handkerchief, which she
was going to embroider. And the nurses
at the hospital where Grace Moore recently
spent some time, had the star autographing
hospital towels for them. Anita Louise
got the surprise of her life at the Cocoanut
Grove the other night, though, when a
gent approached her table and requested
her autograph. When she started to sign
her name, the guy kissed her on the fore-
head and rushed away.
More Kiddie Stuff: Don Ameche's four-
year-old son, Donnie, doesn't go to the
movies very often, but one afternoon re-
cently his nurse took him to see "Fifty
Roads To Town," in which papa stars.
Everything was lovely until Don came on
the screen, at which moment Donnie yelled
out; "Daddy, when you coming home?"
lunior is being kept home with his toys now.
Alice Faye and Tony Alartin had to
move out of their new apartment because
of the neighbors. It wasn't that the
neighbors were noisy, it was because the
neighbors complained. They're both work-
ing in "Sally, Irene and Mary" and they
had to practise their songs at home during
the evening. The neighbors decided they'd
rather wait and hear them in the picture,
which is why Alice and Tony moved.
82
Printed in the U. S. A. by Art Color Printing Company. Dunellen. N. J.
Chances are 6 tolO ...
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in
YRNAlOYSINTmATEFAMIIY ALBUM
:^VER ISO PirTIJRES IN THIS ISSUE
BLaro is more than a delicious syrup.
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READING FROM
TOP
TO BOTTOM:
YVONNE is serious. She
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marie" is the smallest of the
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sympathetic personality.
CECiLE is the mischievous
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Ugh! How she loathed that pepless, logy, irri-
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MODERN SCREEN
Cbpyrisht 193
Regina Cannon, Editor
1/ by Dell Publishing Co. Inc.
• Leo Townsend, Hollywood Editor
Abril Lamarque, Art Editor
1109 SHOiiiiiii;
MANHATTAN MOVIE-GO-ROUND
EDDIE KIDS MR. NORTON
HOO-RAYE!
PART OF LILY'S PAST
TALKING THINGS OVER
TONY'S WIFE
MYSTERY WOMAN NO. 1
COMPLAININ' GARY
HER COMEDY OF ERRORS
ON THE SPOT
NOBODY'S YES-GIRL
WANNA WEDDING RING
HAPPY THOUGH MARRIED
EMANCIPATING MADGE
BEAUTY PROBLEMS OF IN-BETWEENS
CREAM OF THE CROP
MYRNA LOY'S FAMILY ALBUM
6 MACK HUGHES
10 LINDA STORM
11 AUCE GORDON
14 VIRGINIA T. LANE
16 ROBERT MclLWAINE
32 MARY PARKES
34 JAMES REID
36 IDA ZEITLIN
38 KAREN HOLUS
40 NANEHE KUTNER
42 DORA ALBERT
44 MURIEL BABCOCK
46 DOROTHY SPENSLEY
47 MARTHA KERR
48 MARY MARSHALL
50 GEORGE BENJAMIN
51 DELLA WILUAMS
SHORT SDOJECIS
MIDSEASON PICK-ME-UP
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WHAT TO SEE
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64
MOVIE CHATTER
TO MY VALENTINE
68
FROM JANE WITHERS
LET 'EM EAT CAKE
72
FAY WRAY'S ADVICE
STARS' BAROMETER RATING
74
FOR 1937
Modern Screen, No. 301773. Published monthly by Dell Publishing Company, Incor-
porated. Office of publication at Washington and South Avenues, Dunellen, N. J. Execu-
tive and editorial offices, 149 Madison Avenue, N. Y. Chicago, III., office, 360 N. Michigan
Avenue. George T. Delacorte, Jr., President, H. Meyer, Vice-President, J. F. Henry, Vice-
President; M. Delacorte, Secretary. Vol. 16, No. 3, February, 1938. Printed in the U. S. A.
Price in the United States, $1.00 a year, 10c a copy. Canadian subscriptions, $1.00 a year.
Foreign subscriptions $2.00 a year. Entered as second class matter, September 18, 1930,
at the Postoffice, Dunellen, New Jersey, under act of March 3, 1879. The publishers accept
no responsibility for the return of unsolicited material. Sole foreign Agents: The International
News Company, Ltd.. 5 Breams Building, London, E.C. 4, England. Names of characters
used in stories and in humorous and semi -fictional matter ore fictitious. If the name of a living
person is used 't is purely a coincidence.
4
r
MODERN SCREEN
Tlirougli tlie doors of tKat worksKop cease-
lessly flowed girls, girls, girls . . . each with
a dream and a hope beyond reaching.
Here is one shopgirl who lives a drama so
amazing, so rich in deluxe living, that it
will fascinate and excite you. And
Jessie might have heen you, or you, or you!
MODERN SCREEN
OlflnHATTfln IHOVIE-GO-ROIflll)
OUT OF the hills of Hollywood
come Movieland's glamorous to join
in Gotham's big parade of merry-
makers. Whether their leave from
the cameras is for a week or a
month, they invariably travel across
the continent for a whirl in Man-
hattan.
One of the most recent visitors to
create a mild furore in New York
was Romance Boy No. 2, Tyrone
Power — Bob Taylor still, according
to fan mail, holding top honors as a
feminine pulse-beat-quickener. How-
ever, Ty did all right for himself.
In fact, so mobbed was he that the
poor lad found it necessary to regis-
ter at one hotel and live at another.
Now, you'll admit that's doing a Gum
Shoe Pete on the public! Of course,
everyone wanted to ask him about
Janet Gaynor. That, he certainly
must have anticipated, for he had the
answers down pat before the ques-
tions were even invented.
"I came East to see about my radio
program," remarked Mr. P. with a
very straight face. "Janet happened
to be here. We're just good friends.
By MHR HUGHES
We've taken walks in Central Park
and visited unostentatious places.
That's Janet — a simple girl. None
of this night life stuff for her. She's
too shy to be the center of a mob
scene."
A meanie reminded Ty that he had
already been on the radio for three
weeks and that he had also been
snapped dancing with Janet Gaynor
at the Hotel Lexington's Hawaiian
Room. Didn't tliat mean romance?
"Ah, can't you skip it?" he
laughed. And when Ty Power be-
comes ingratiating you're apt to grant
a request. However, we'd like to
venture that the Honolulu dance lo-
cale was instigated by the Gaynor,
who has a great fondness for that
island.
AT THIS point, Alice Faye drew
up a chair. "Now don't heckle Ty,"
said she. "I like him. We both
have the same birthday, which makes
us twins or pals or something. I
had a telegram from Tony this morn-
ing. Tony Martin. He's my hus-
band— :remember? It said, 'We've
been married two- months today and
to think that some people said it
wouldn't last !'
"Gosh, he's good for me. Always
in a swell humor and taking things
easily, as they should be taken, while
I'm tying myself up in knots. I've
done nine pictures in a row — too
much for anyone — and when I was
rehearsing for 'In Old Chicago', I
slipped and sprained my back. Was
in the hospital three days and the
only thing that worried me was that
they might give the part to someone
else."
Alice poured herself a cup of tea,
for we were all Orange Pekoe-ing at
the Waldorf Towers, way up on the
fifty-eighth floor, far, as the saying
goes, above the maddening crowds.
Speaking of Janet Gaynor, we
later encountered her backstage at
the Empire Theatre. She was stand-
ing in a corner, a little figure in
brown, waiting to congratulate Bur-
gess Mere- {Continued on page 101)
Pictureland's top people come to Gotham to work and play
MODERN SCREEN
GENTLEMEN obviously prefer.
WAITER
lOYD NO
CHESTER
ARMSTRONG
Dire''®
'Every Doy's a Holiday" all right when you can see
the one and only Mae West herself In a roaring
comedy-romance-with-music set in the hail and
hearty days of New York's Gay 90's— a gala and
glittering picture featuring the antics of five of the
greatest screen comics of our time. ..a picture with the
dash of Mae's Schiaporelli gowns — it'll have your
boy-friend in hysterics and you in a gale of giggles.
7
niDSEflson pick-he-iip
Dorothy chooses a grey cape suit with
furred vestee and muff for these brisk
winter days. She has a practical tip
for you regarding winter suits.
I'VE BEEN working up to an awful let-
down !" — so goes the old song. Is that the
way you are feeling, now that the hectic
holiday excitement has died away? Is your
wardrobe suffering from a terrific hangover
as the result of frantic Christmas shopping
crowds and too many parties?
Do you feel that you've worn each dress
just once too often, and hope you won't have
to go anywhere, just so's you don't have to
wear one of those tiresome old frocks that
have become too, too familiar?
Don't let this mid-season, slump get you
down, girls ! It really doesn't take much to
cure those wardrobe blues. A small pick-me-
up does the trick every time ! One new mid-
winter frock, a few new accessories for the
old ones, will make you feel like a new woman
till it's time to go to town on your Spring
outfit. And it won't be long now !
F'rinstance, take a glance at the smart,
dark wool daytime frock worn by Dorothy
Lamour. It's our guess that anyone seeing
Dorothy stroll past in this little number will
take more than a casual glance, for when this
lovely star appears in public, people don't
BY ANN
WILLS
Paris predicts dashes
of color on solid back-
grounds for early
Spring. Dorothy La-
mour's dark wool day-
time dress, with its
loose, wide sleeves,
lends itself beautifully
to this smart touch.
just say, "Oh, look, there's Dor-
othy Lamour," and let it go at
that. Far from it ! "Isn't she stun-
ning !" they gasp, and then they
sigh deeply, the men in admiration,
the women in envy. For Dorothy's
taste in clothes is impeccable. She
knows exactly what is becoming to
her, what will complement her
beauty most perfectly, and she
wears it with the assurance of the
woman who knows she's well
dressed.
Her becoming wool frock proves
how smart a simple, straight sil-
houette with a loose wide sleeve
can be this season. The second
showings in Paris predicted dashes
of color on solid backgrounds for
this Spring's fashions. And here's
our Dorothy, right up to the
( Contiiuted on page 89)
8
MODERN SCREEN
9ttboA IfOOO ARTISTS
THREE YEXKS 6r tHoAe Itj
•
The most anticipated picture in 20 years will be the show sensation of
1938 — and for years to come!.. The most amazing advance in screen
entertainment since the advent of sound! .. You'll gasp, marvel, cheer
at its wonders as you thrill to an experience you've never Uved through
before!.. Without a human actor, it's more human than all the dramas
that ever came out of Hollywood! . . Power to make you laugh, cry, throb
with excitement ! . . Music to fill your soul — 8 big songs, several as good as
"The Big Bad Wolf"! .. Romance, adventure, mystery, pathos, tragedy,
laughter and beauty such as you must actually see and feel to believe! . .
Truly the miracle in motion pictures — the new wonder of the world!
WALT DISNEY'S
\ull-length
FEATURE PRODUCTION
and the
Seven Dwatts
in the marv^lous
MULTIPLANE TECHNICOLOR
Distributed hy RKO RADIO PICTURES. Inc.
m
9
EDDIE KIDS
HID. DODTOD
BY L 1 H D fl S T 0 R
Here's smiling at you, and it's a rare pic-
ture that catches Mr. Horton off his guard
to this extent. He usually smirks.
Despite the startled expression, Eddie
thinks Louise Campbell, with him in
"Wild Money," has what it takes.
WHEN I found Edward Everett
Horton on the set, an overcoat was
draped 'round his shoulders, and he
was drinking a cup of hot milk.
"You're not playing a hypochon-
driac, are you?" I asked him.
"Playing one ? I don't have to. I'm
a very tragic man," he said, drawing
his brows together to stimulate pained
earnestness. "I'm always sick or
dead or dying or something. Didn't
you know? Just dying this time,"
and he lifted the cup to his lips and
eyed me over its rim.
His face wore that faintly harassed
expression which is part of his stock
in trade. He assumes it of¥-screen at
times for his own purposes, mainly
ribbing purposes. His voice with its
plaintive overtones goes meandering
on, underscoring words in typical
Horton fashion, making outrageous
statements about himself. You may
be taken in for a moment, since the
mask is perfect. Then you'll detect
the vaguest quiver of an eyelash, or
an expression too seraphically bland,
or he may pile it on just a shade too
thick. At which point you _ begin
really enjoying yourself and him.
He actually had been ill for three
days while at work on the picture.
He'd been put on a diet and the coat
was necessary protection against a
draughty set. Which didn't prevent
him from poking fun at the one butt
of which he never tires. Edward
Everett Horton is a never-failing
source of humor to himself.
He had just finished rehearsing a
scene for "Wild Money" with Louise
Campbell, a stage actress who is now
making good on the screen. The girl
leaves the room and he stands gazing
fatuously after her through the plate
glass door, droll and pathetic at once.
"Cut!" called the director.
"Just a fool," sighed Horton. "And
the funny part of it is that I get the
girl in the end. I sometimes wonder
why people stand for it, with a face
and a baby-blue voice like mine. And
such a girl ! First crack at the screen,
and with all the poise of a hardened
trooper. Not hardened, that's not the
word I want. Something to do with
salt, seasoned, that's it. Though it's
not much better. Makes you think
of a dish of stew," he grumbled,
"while the girl looks like flowers with
the dew on them. Dear me, I am
waxing poetic."
He was applying make-up, pre-
paratory to a take with Miss Camp-
bell. "I don't know why I do this,"
he said, busy with brush and powder.
"Can't make any possible difference
to my face. Kind of like a circus
horse, going out to the ring with a
rose behind his ear. Knows it won't
do him any good, but sticks it in just
the same, through force of habit and
feels. 'Well, now I'm prepared.' "
His performance of the scene
brought. {Continued on page 102)
Being gooly's a business with him-and he loves his work
10
MODERN SCREEN
-nn I
BY ALICE GORDON
Is it true that Martlia Raye
lias gone liigii-liat? Here's
what she says
Martha Raye, minus those facial con-
tortions for which she is famous, can
hold her own with the glamor girls.
Martha, being
very informal
between
scenes of
"The Big
Broadcast of
1938."
iMARTHA RAYE has recently be-
come one of the most discussed
I women in Hollywood. Unknown to
movies two years ago, her name is
now on the tip of everyone's tongue
in Hollywood. She is the center of
some of the most unpleasant, the
crudest gossip that has been heard
in a long time in Movietown.
They say that Martha Raye's sud-
den success has been too much for
her, that she is stand-ofBsh with re-
porters, that she has gone on wild
spending orgies, and that she isn't
saving the smallest portion of the
excellent salary she earns.
Well, I met Martha Raye for the
first time when she was in New
York on a personal appearance tour.
The first thing you notice about her
is that she is ever so much prettier
than she appears in pictures. Yes,
her mouth is large, but oS the screen
her face is not that of a comedienne
at all; it has character, and her blue
eyes are enormous. She has a svelte
figure that would do justice to a
glamor girl.
She had just come off the stage.
She sprawled on a couch barefoot,
while a colored maid massaged her
aching feet. She wasn't wearing
maribou feathers and beads, as you
might expect from some of the stories
about her, but a simple blue and
white pair of lounging pajamas.
She said to the publicity woman
who^^was in the dressing-room with
us, "Did (naming a famous
New York columnist who had been
panning her) come to the cocktail
party? I had to slip out to make
my appearance on the stage."
The answer was "No."
"I don't understand it," said
Martha Raye. "I've never done any-
thmg to ofifend him. Yet, when I
called him up to invite him to the
party, he wouldn't even answer the
phone. I had to extend the invitation
through a servant.
"What hurts is that we knew each
other before I went to Hollywood.
We appeared together at Loew's
State Theatre in New York. I keep
trying to think what I could have
done to antagonize him, and I can't
think of anything.
"Once he was at the Club Casa-
nova in Hollywood when I was do-
ing my act there. I came over to
hmi and (Continued on page 105)
11
■C I: V I If W S» •
OUR
i,Ur6ds Don't Cry
Thoroughbreds ^^^^^^^^^^ ^^^^
t^-Vs°Sogie T-tf ^^^^^^ eonce.n.n, ^J^^^^ , 3
across with a gr-^ ^ ^^^g story is ^^g^ the venture, we
^"Though bring ov-\*:^;>„ection wj^^J f.^ertaining that
^"^/n f^e^ B^b^equent gnej i« ^ ,_paced and^ Green.-M-G-M-
and all ttieir ^^^ns are a' ^ by M"ea
Se^neT"^'^^'"" ^
The Hurricane ^
rpd as the stars
mmmmm
the ttib«^a;^?"^ °tril«"g ^ ^^''^'"aSed sentence Ait« /,^y Mainour),
\«prisoned for ^« brings an add^^ Ws wde^ C^^^^^ dinaax, the
^B^"^^- ! nd -doub^dlV
arriving J^t^^ m ^.^ sarong, at^a ^^ ^eeds mucn
'TorHaii is x^fsfy'izi. tiifitJp^^f^o:^'^^:^^
their paces . in „,art comedy , piayed^^lev Wmmnger^, g.^
"^'•■^o^^^-l^lfcr'^i^^l/h^^ f Stri achieve-
coiS 4Ss^£d"i^5k£-^^
^^T?o"r W^^^^- Wellnian.-5c _
ment tor ^^f^^^^"^^
BY LEO TOWNSEND
12
**** True Conf ession
when a tirsi ^^^g "^'"^ i^rgeW responsible for tne
aisiiSflgSi
has imirdered ^ ™^^"ee her and wm hi?^/=Yg\^,e wife, playing
hopes-his defense wdlfre^^.^^^ P^^^ at whU she is .tops m
l^.^ely Lombaid scor-^,^, fZ^r'rol I the best thmg has
^Suy°"ol° fe^ f/A^ernVinaj:^^ „,..,es to be
had in some time and ne i^^.d s g^^' Xch is a nice trick if
''"una Merkel a Mi^%vie 3ame ^"f^ ^^ficent crackpot who
attractive and fw^Y^ Barry more, as a niag ^^^^^1^ the
you can do it. Anji f " h whole affair supporting
landers majesU^^^^^^^^ ^^^^^ Kennedy are
^^,^^^.H-l^.^"^egrS^g.^es.-Pa^a^n..n^ _
outstandmg.— IJirectea ,,BanM|""^"°'
^^^^^^^^^"^^
"^^Don-sel in Distre« ^^^^^
oerformed in a F"" i^e of admission Finest ua yVstaire, with
?S alone is -"f^.^^rrnoveUy tap "--^'^elf turns in a first-rate
rSroTts^ff'apdr-.s. A^^^^^^
i'ht comedy pe'^i°"^;^Tav No^e, Constance Collier ^^^^^^^.^^^ ^„
, °^e2inald Gardiner, Ray i .^ ^ ^d, s too se g^^^^^^^.
Porfia on Tna\
allows him to p^^g. I he gi v ^etena
immediate annume she is ':ai g^^^.
K^efAnSa^d Ruth Donnelly. Dne
More Reviews on P^e 99
Let our reviews be your guide in selecting movie "musts"
PHHT OF lllfS
THE WORLD knows her as a voice. A lyrical half-
pint, who has made a million dollars with her high C's.
Hollywood knows her as a hard-working young
woman, followed around by a retinue of servants, dogs
and trunks.
But of the Lily Pons who had the courage to sing
to hundreds of suffering men when her own heart was
breaking, who risked her life in order to keep her word,
they know nothing at all.
The whole story came out quite by accident, and
because Lily happened to be an hour late. The secretary
who met us at the door offered profuse apologies. They
were doing retakes on this new picture, "Hitting A
New High," and Miss Pons was detained at the studio.
Would we wait and have tea with her familv?
BY VIRGINIA T . LANE
Madame Pons tells on her fa-
mous daughter-and she knows
"He is a nice
boy," Mama
Pons has said
of Andre Koste-
lanetz. "I hope
he and Lily will
soon find time
to marry."
Success and
happiness have
not always
been Lily's,
though few
know of the
times she has
sung with tears
in her heart.
^_ ..Jls"' _ .
14
MODERN SCREEN
Sunshine flooded the patio. It fell
in bright patterns on Madame Pons'
sitting near the swimming pool, on
Nanette, the younger daughter, play-
ing with her five-year-old Viviane.
They have never talked for publica-
tion before. They were not conscious
of doing so now. But one memory
crowded another as they began to talk
of "Lilee."
SHE WAS the miracle child of
Cannes, because she lived, after being
the tiniest baby ever born in that city.
"But look, Madame," said the nurse
excitedly. "She has a caul on her head.
She will be famous!"
But the mother was frightened. She
was only eighteen. She couldn't lose
this first baby. And so began a des-
perate fight for the child's life. Every
day she covered her with the warm,
life-giving sands of the beach and as
a result she was walking before she
was a year old.
Other children came. Christianne,
who has auburn hair like her mother,
and blonde Nanette, with her flair
for dancing and laughter. But Lily,
there was no explaining her !
At four, two widely separated but
significant events occurred. Lily heard
her first opera. And she discovered
the cherry confiture.
They hadn't meant to take her to
the opera. As they pulled up in front
of the opera house however, some-
thing wiggled uiider the auto robe in
the back seat and there she was ! She
still had her play dress on but she'd
carefully tied a yellow ribbon around
her waist. Mile. Pons was dressed for
her debut. Twenty-one years later, she
was to make her real debut at the
Metropolitan in the same opera she
heard that night, "Lucia di Lammer-
moor."
The next day she created another
stir. But for quite a different reason.
Lily found the confiture. It was good
French confiture, fermenting in prop-
er fashion on the sideboard when
she stuck an exploring finger into it.
Such bliss ! Without more to-do, Lily
took the whole jar and literally went
under the table. The dining room
table that was covered with a vol-
uminous cloth after the custom of
those days. Hours later they found
her, sound asleep. She slept for three
days.
And that is why Lily Pons, in-
ternationally known diva and motion
picture star, grows faintly ill at the
mention of alcohol today !
She was as unpredictable as April
weather. Dolls ? Pouf ! Let the leetle
girls play with them. She had her music
and her animals. "Nom de Dieu !"
Poppa would say, jumping out of his
favorite chair. "What is this?" And
it would be Lily's pet ferret that she'd
taught to sit {Continued on page 106)
cJliA ti£Mx\ i^Vl ^CrG|? uyoS ^ \t&^
^i, djA — cu/vd cm untCv yru/i Lma^motm!
Dear Mother,
That little guv Cimiri u
your Pels-Nap'tJ; Z^'^ A^l^^l^'^^ - you, I tried
richer golden soap and lots of nrfn^''^''^"^ ^"^^ of
the d.rt. Ted's simply "H^^^r^^Htha ^^^^ out all
glory, but it's swell to hav. h '
at me again! ° ^^""^ tossing bouqu
■s. And
ouquets
BANISH "TATTLE-TALE GRAY'
WITH FELS-NAPTHA SOAP!
Jane
P.S. You'll like the
new Fels-Naptha
Soap Chips, tool
15
IHlKinG
THinGS
OVER
BY ROBERT
M c I L W A I H E
Fredric March as the
dashing Jean Lafitte
in "The Buccaneer,"
Cecil B. De Mille's la-
test, and some say
greatest, spectacle.
FREDRIC MARCH has a habit of picking picture plums.
When a nice fat role comes along, he has a way of
reaching for it and firmly placing it in his repertoire of
nice fat roles. He isn't avaricious. He isn't even aggres-
sive. He is, to hear him tell it, just plain lucky. However,
our guess is that it takes more than mere chance to place
a man at the top of his profession and certainly more
than good fortune to keep him there.
Before Freddie became a movie star, he played in the
theatre. Before he trod the boards he was Howard
Chandler Christy's most experienced model. Indeed it was
Mr. Christy who was the first to congratulate him on
landing his first job in the theatre. It was also Mr.
Christy, Mr. March avers, who came to see the play
opening night and, because he picked up his handkerchief
sometime during the second scene, missed seeing his
m.e.m. You see, Fred had a big thinking part in "De-
burau" with one line somewhere during the evening to
make him feel like an actor. He also served as assistant
stage manager, script-holder and in any impromptu ca-
pacity which might arise. He was determined, you see,
to become an actor.
"If studying and watching everything was going to get
me there," said Fred, "I was going to study and watch
and nothing else but. I'm not so quick on the uptake
when it comes to learning lines," he confessed a bit sheep-
ishly. "I've got to go over and over them. And so, even
16
MODERN SCREEN
today, when I run up against some
of those directors who Hke to 'shoot
scenes with spontaneity,' I'm thrown
for a loss. Some players hke it
though. Carole Lombard claims she
does her best work when she is play-
ing the scene for the first time. Bill
Powell never used to like the 'shoot
before you learn' method, but even
he has come around. That leaves
little Freddie holding out for plenty
of study and lots of rehearsals."
According to C. B. De Mille, who
knows a thing or two about movies,
you'll have to admit, Fredric March
is one of the best actors it has ever
been his privilege to direct. This
pair "met up" some years back while
making "The Sign of the Cross" and
recently during the filming of "The
Buccaneer."
IF I SOUND like a circus barker,
forgive me," pleaded Mr. March,
"when I tell you that this picture is
the tops. Remember, I'm not talking
about me, I'm telling about it. The
color alone is marvelous. It's so
subtle. They are certainly getting the
process down pat. No more of those
vivid prints that get on your nerves.
The story matches the print in color,
adventure and romance. It's about
the swashbuckling pirate, Jean Lafitte,
vyho did his stuff in 1812 and never
had a dull moment doing it. Now,
I'll step down off the soap box.
"Seriously, I like to work with Mr.
De Mille. He does a painstaking job
and never calls a thing finished until
it actually is. Just having it do, won't
do for him. It takes patience to do
the things he does, but he has plenty
of it and to spare, and if an actor
is poor in a (Continued on page 102)
Fredric March tells
what makes the movies
tick ani why
The Marches enjoy one
of their infrequent eve-
nings out.
IF HANDS
COULD TALK
THEY'D
say:
Dusty jobs, chapping weather,
household heat ... all spoil the
looks of dainty hands. Tender
skin gets red, dry, grimy-rough.
Not thrilling to any man ! What
your hands need is Hinds . . •
Hinds is extra-creamy, extra-soothing to
sore, chapped hands. And now, Hinds
contains the "sunshine" Vitamin D that
skin absorbs!
/ven one application of Hinds helps chapped
hands feel smoother. Every creamy drop goes
right to work... soothing "skin cracks" that sting
and burn, easing that dry, drawn
feeling. . .putting back softness. Used
faithfully, Hinds gives you Honey-
moon Hands. . .dainty, feminine, thrill-
ingly soft ! Hinds Honey and Almond
Cream comes in $1.00, 50c, 25c, 10c
sizes. Dispenser free with 50c size
...fits on the bottle, ready to use.
"NO CHAPPED SKIN FOR US. WE USE
HINDS!"— THE DIONNE QUINTUPLETS
CoDyriKht 1937 NEA Service, Ina.
17
MODERN SCREEN
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OUR PUZZLE
Solution appears on Page 91
Up on movies? Well, solve this one!
ACROSS
Star of this puzzle
She last made "In Old Chicago"
And recently married this man
Actress named Lynn
Film-winding device
ZaSu Pitts' teammate in "40 Naughty
Girls"
Person affiicted with leprosy
A second sale
Winged
Nana in "The Life of Emile Zola"
"Dead - - -"
Femme star's sister in "Double Wedding"
Charge as a debt
Gtoup of nine
Reed-like Mediterranean grass
Cut in pieces
Foot-like part
Country gallant
Talleyrand in "Conquest"
Roumanian coin
Showed mercy to
French city on the Loire
Real name of this puzzle's star
Heroine of "Danger — Love at Work"
A commission
S3.
54.
55.
56.
60.
63.
65.
66.
69.
71.
74.
75.
76.
79.
86.
87.
89.
91.
92.
93.
95.
96.
99.
100.
101.
102.
103.
Boil
Assam silkworm
"- - - Brother's Wife"
"Wife, - and Nurse"
There's an Eddie, J. C. and Elliot by
this name
Hardie Albright's wife
Furnishes with a new sole
Gravel-voiced comedian
Journeyed upon water
LeGallienne's her last name
"Adam and - - - -"
Irregular
" of the Law"
Able to be dated
Kind of Dutch cheese
Large hawk
Glitter: Scot.
"- - - - of the Dragon"
Possess
Move
George Burns' better half
Jeers
Advantageous position
Disembark again
Monster of folklore
Producer of "Big City"
Ancient Jewish monastic order
Clarice in "Merry-Go-Round of 1938"
Sacs
18
MODERN SCREEN
PAGE
DOWN
1. "The Great Garrick"
2. French rabbits
3. Femme star of "The Awful Truth"
4. The heart
5. Printer's measure
6. The boy in "Captains Courageous"
7. Roman bronze
8. Periods of time
9. Star of "Annapolis Salute"
10. Marcia Trent in "Fight for Your Lady":
initials
11. Ruby Keeler's husband
12. Peruses
13. Stories
14. Leading lady in "He Wanted to Marry"
15. Theatrical news write-up
16. Slumber
19. Netted
21. Hero of "The Sheik Steps Out": initials
22. Initials of star of "Ali Baba Goes to
Town"
25. Male star of "Blossoms on Broadway"
27. Paradises
30. Poplar
32. "Clive of - - - ia"
34. Preposition: pi.
37. "- - - ists and Models"
39. Hero of "Portia on Trial"
41. Mineral spring
43. Summer: Fr.
44. " 's No Lady"
45. Kaye Hamilton in "Stage Door"
46. Hero of "The Perfect Specimen"
47. "What Glory?"
49. The Barrymores' sister
50. German river
51. Snug retreats
57. Powell's manager in "Varsity Show"
58. Open: poet.
59. Mack Gordon's song-writing partner
60. Male star of "Maytime"
61. Those for whom a thing is done: law
62. "The Man Who Played - - -"
64. " of Missing Men"
65. Last third of name of star in "Lancer
Spy"
67. Chemical symbol
68. Dancing whirlwind of "Broadway Mel-
ody of 1938"
69. "Souls at - - -"
70. "- Car"
71. Charlie McCarthy's papa
72. He gave our puzzle's star her start
73. Coral islands
76. " s and Models"
77. Rules
78. Leading lady of "Double Wedding"
80. Regions
81. The sesame
83. A mixture: var.
85. Tend
88. Bone
90. Initials of brunette torch singer
94. Age
95. "Thoroughbreds Don't - - -"
97. She starred in "As Good as Married":
initials
98. Initials of heroine in "Highway to Hell"
100. Initials of stage actress whom Norma
Shearer imitates
But were they?... its
a girl's own fault when she
offends with underarm odor...
Poor Marioti — to have overheard such
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Marion thinks she doesn't perspire.
Wearing a woolen dress should put any-
body wise!" And Jane added, "Mr. Wil-
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for underarm odor in any of us girls! "
Poor Marion? Lucky Marion, really.
Otherwise she might have gone on for
years thinking that a bath alone could
keep her safe from odor.
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underarms need special care. Even when
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TAKES THE ODOR OUT OF PERSPIRATION
19
MODERN SCREEN
"I'M 100% FOR
THIS FLAVOR!
flip
"It's brisk — it's langy!
Refreshing as a hasty
shower! And good? You
never tasted anything
smootlier, more luscious !
Beeinan's flavor has
something mighty
special about it,
ifyouaskme!"
"But naturally!
Cast your eye over
that Beeman's pack-
age. See that triple wrap
— that airtight foil? Per-
fect protection for Bee-
man's delicious freshness
and flavor! No wonder
Beeman's always tastes
superbly fresh and
luscious!"
BETIIIEEIl VOU
Cash prizes ior Your original letters on the stars,
the niovies-anything at all concerning the screen
One fan fervently hopes that
Barbara Stanwyck will
marry Bob Taylor soon, so
that he can get back his gal.
$5.00 Prize Letter
Dog-Gone With the Wind
What with all the hullabaloo over "Gone
with the Wind," it seems to me that Holly-
wood is killing any adaptive charm which
it may possess by delaying production until
suitable players can be selected. Hollywood
has a way of doing that to some of its
most promising possibilities.
I am afraid that the forthcoming version
of "G. W. T. W." will bear all the ear-
marks of a dud. Miscasting is probably
Cinematown's most grievous error, due per-
haps to its insatiable appetite for best-
sellers, most of which present themselves
to the box-office gentry as "best-smellers.''
I do not agree with those who contend
that there is enough talent available in the
film colony to render anything from Moses
to Mussolini. I feel certain, however, that
a closer scrutiny of the nation's legitimate
stage would yield more than an equable
return of suitable acting material for
stories of such scope.
Unlike most pessimists I am hoping for
the best, but Heaven help Hollywood if it
finally gives us Robert Taylor and Barbara
Stanwyck as Rhett Butler and Scarlett
O'Hara. It's an ill wind, etc. — Oscar
Shynook, Rochester, N. Y.
$2.00 Prize Letter
Marry Him, Babs!
Yes, yes, go right ahead, Miss Stanwyck,
we understand. Yell out your intentions
to commit marriage. Yes, you may wear
anything. Take fifty mermaids for brides-
maids, the king of kings for best guy, and
me for publicity squealer. Of course, not.
I don't mind. I'll spread the news from
pole to pole, from Jupiter to Mars. But
marry him, or kidnap him, if you wish.
Do something ! Then you can go over to
China and show Bobby genuine fireworks
or to an island — anywhere — but keep him
there ! Tell him he's been a bad, bad boy.
That big bad wolves bite bad boys like
him. Do anything in creation to amuse
him. Read Mother Goose, sing him
Hawaiian lullabies. Tie the knot_ hard.
And Miss Stanwyck, you'll be doing us
mugs, who escort the dames to Taylor
shows a great favor.
And, believe you me, this country will
register a decrease in heart pressure in
Taylor-mesmerized femmes. Yes, Margie
will be a nice little girl then. Yes? Good!
Boys, write Miss Stanwyck and tell her
that she is sole heir to the Taylor mans.
We'll get our gals back — back to normal
with heart in place. — S. C. Hernandez,
Mesilla Park, N. M.
$2.00 Prize Letter
Re: James Cagney
What I am about to say has been on my
mind for two or three years. So here goes,
James Cagney is my subject. I have
read in the movie books for ages about
the temperament of this' star and that,
and after all the ballyhooing, I still have
the pleasure of gazing on the lovely and
handsome countenances of Hepburn, Moore,
Lombard, Gable, Rogers, MacDonald,
Powell, both of them, Dick and Bill.
Now, if the Big Moguls kowtow to
these lovely females and handsome males,
why in blazes, didn't they do a little bow-
ing to a fellow like Cagney? Of course,
we are glad that Grand National has him
under contract, but somehow they don't
seem to have the stories or the ability to
produce like, say, M-G-M or Paramount.
The way I feel now I could go right out
to Hollywood and tear the studio up by
the roots because I feel they have done
him an injustice. I suppose if he were
one of those handsome devils who was
always kissing his leading lady or loving
and leaving his leading lady, they'd have
him tied lock, stock and barrel. — ^Jean
Stewart, Chicago, 111.
$1.00 Prize Letter
To G. A.
I love Gable's way with the feminine
gender.
And his he-mannish manner — so strong
and yet tender;
And wonderful Tracy, best actor there is,
From humor to pathos is always a whiz !
And I'm really quite fond of the man of
the hour,
Talented, handsome, and charming young
Power ;
And, like so many others, I, too, must
agree
That Ameche's as cute as one person can
be!
I can e\'en bear Taylor, Nebraska's best
crop,
Though he's cold as an iceberg, and his
" acting's a flop !
But who is your favorite?
You may have every one!
They're all shining stars.
But Gene Autry's the sun !
— Grace Dugan, La Crosse, Wis.
beeman's
AIDS DIGESTION...
20
MODERN SCREEN
r HIE
$1.00 Prize Letter
Distressed
In response to Dorothy Reilly's letter
in^ December Modern Screen, which
grieved me greatly, I am writing in defense
An Oregon prize-winner
offers some advice to glam-
orous Marlene Dietrich.
of Errol Flynn's, Clark Gable's and Don
Ameche's mustaches, which she so unfeel-
ingly called misplaced eyebrows.
Errol Flynn and Don Ameche are my
favorite actors and when they appear in a
movie without their mustaches, it greatly
decreases their appeal and spoils my ex-
pectations of seeing them as I like them.
I saw Ameche on "The First Nighter"
program a few years ago and think that
sirice he has acquired that certain some-
thing on the upper lip, it has made a
decided change for the better in him. I
never paid much attention to Gable until
he grew his "eyebrow" and I am sure that
if it were shaved off I and many others
would lose interest in him.
Small mustaches, indeed ! What do they
want, handlebars ?— Janice Mae Davis, W.
Hartford, Conn.
$1.00 Prize Letter
Plain Talk
Since when has the American public
taken to adoring a wooden statue? I'm
not speaking of Charlie McCarthy, but of
another piece of driftwood called Marlene
Dietrich, who has the nerve to call her-
self an actress.
She is given the best roles to play and
yet ruins them all. She should really be
cast opposite Ned Sparks, two dead-pans
are better than one. It's just plain lack of
acting ability, which she tries to cover up
by looking ghastly. Also, it's a lot of
plain darn laziness. She's too lazy to open
her eyes and mouth at the same time. And
they call it glamor, and her beautiful !
The only remedy I can suggest for such
a pitiful subject is (1) see a good doctor.
(2) Hire someone on the set to stick pins
in her every two minutes, or oftener and
(3) embalm her and put her in a circus
sideshow. — Ruth Loury, Portland, Oregon.
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too, that your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; 2 sec-
ond prizes of $2 each; 6 prizes
of $1 each. Address: Between
You and Me, 149 Madison Ave.,
New York, New York.
$1.00 Prize Letter
A New Partner for
Nelson Eddy?
Grace Moore is one of my favorites, but
I do wish that she'd have a suitable lead-
ing man in her pictures. Not that I have
anything against Franchot Tone, Cary
Grant or any of the others, but somehow
they don't seem to belong there. She
should have a screen mate who can sing,
and I can think of no one better than
Nelson Eddy. Their voices would blend
beautifully. (Continued on page 87)
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(This offer expires April 1, 1938.)
-SUite_
21
MODERN SCREEN
Fern mine
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Parahydrecin kills germs, yet Nor-
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THE ACCEPTED MODERN WAY The exquisite
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for use. They require no awkward apparatus for
application. They leave no hngering antiseptic
smell around the room or about her person. They
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Many women use them for this deodorizing effect
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MILLIONS USED EVERY YEAR Send for the new
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NORFORMS
Want a letter trom a star? It's easy!
© H. P. C. 1938
22
Known to Physicians as "Vagiforms"
Dear Information Desk:
Just a note to tell you 1 think your
Barometer Is a grand Idea'. I am more thaii
proud to have rry name included among "those
present."
Through you, 1 wish to thank, with
all w heart, the friends who have irede that
possible.
All of us In pictures, I believe, keep
an eye on how we are rated. We like to know
if we are giving performances that appeal to
our fans.
We are conscious of the Interest shown
in our work and endeavor to express our appre-
ciation through "bigger and better" perfor-
mances.
Yours sincerely.
sessor of a good baritone voice, he was kept
constantly employed. In 1932 he made his
decision to go to Hollywood. Once there,
three years of near-starvation followed. He
joined the International Players of Van-
couver, Canada, Engagements in Shobe and
Bell's "Girl Of The Golden West" company
and In Los Angeles in "Love And Chiselers,"
helped keep the cupboard from being too
bare. Then, talent scouts from Darryl F.
Zanuck's office spotted him when he played
In "Kitty Dooley of Times Square." They
further observed him when he rehearsed in
five Shakespearean plays at the Pasadena
Community Playhouse. When he finally got
the lead in "Common Flesh," a play pro-
duced by James Timony, everything began
to break at once. J. J. Shubert bought the
play and planned to take Michael to San
Francisco and New York under a three-year
contract, while Samuel Goldwyn took a
silent test of him, right on the heels of the
Shubert offer. Michael now found himself
MICH.-VEL WH.^JLEN (second printing) When
Mike Whalen, who was born in Wilkes-Barre,
Penn., was thirteen years old, he was well
on the way to becoming a concert pianist.
At seventeen, he announced this as his am-
bition and his father, a well-to-do mining
contractor, was horrified. It was all very
well to play the piano for
pleasure, as a pleasant sort
of hobby . . . but become a
professional? Never! Michael
must be a business man.
Through family connections,
he became associated with
the Woolworth stores and
fared very well. At one time,
he managed three different
stores simultaneously and
successfully. Then his father
died and Michael lost his Incentive to con-
tinue in business. He turned again to the
piano Cor consolation and began reading'
the theatrical sections of the newspapers.
One day, he took his savings, resigned the
managership of his three stores and quietly
left for New York. He had suddenly and
definitely made up his mind to become an
actor In New York he was given an audi-
tion and made such an excellent impression
that Eva Le Galllenne gave him his first
parts with the Civic Repertory Theatre.
After a year in various roles, Michael de-
cided to try the radio, and being the pos-
ATTENTION FANS!
How would you like to have a per-
sonal letter, written especially to ytju
and signed by your -favorite star in
person? Think how grand it would look,
mounted on the page of honor in your
scrap book! And how proud you'd be
to show it to your friendsl
Well, you can receive one, with just
a little effort and perseverance on your
port. Here's the idea: Each month, the
fan who sends in the nnost votes for one
particular star, will receive a personal
letter of thanks from that star. The letter
will be published in this department and
the original sent to the lucky winner.
In cose of ties, each winner will receive
a letter. Votes must not be sent in by
groups or clubs, but by Individual fans
and each vote must be printed on the
Modern Screen coupon found in this
department. That is the only rule to the
contest, so get your friends to help you
by letting you clip the coupons from
their copies of the magazine. No per-
sonal-letter votes, written on postcards
or in letters, will count and all entries
for each month must be in our offices
by the twenty-fifth of the month. Mail
your coupon to the Screen Star Letter
Editor, Modern Screen, 149 Madison
Avenue, New York, N. Y. This contest
in no way conflicts with your sending
additional votes by letter or postcard
for stars whom you want to receive
Barometer mention.
MODERN SCREEN
A Dazzling 'Camera Skiii
like (JJ^uzfcu^e's , need not
be Just a dream for You/
in an interesting situation, when Darryl
Zanuck sent for bim. Three offers to choose
from and exactly twenty-seven cents in his
pocket ! This was due to the fact that the
actors in "Common Flesh" received no
salaries and Michael had been financing
himself. He signed with Zanuck and his
first picture was "Professional Soldier."
Since then, his picture career has advanced
steadily and his fan following has increased.
His current picture is "Headline Huntress,"
with Gloria Stuart. Michael is six feet two,
weighs a hundred and seventy pounds and
he's a bachelor, girls !
SONJA HENIE (second printing) Blonde
Sonja was born on April 8, 1913, in Oslo,
Norway. There had already been a son
before her, so the advent of a daughter was
cause for great rejoicing in the household
of the Wilhelm Henies. Her father asked
friends what he should call her and an
artist acquaintance said,
"Call her Sonja, it will
sound well to the public."
And so, that became her
name ... a name destined
to blaze in lights around the
world and to find fame at
last in Hollywood. Sonja
started being Sonja at the
tender age of three. She
never walked, but danced.
She loved to wrap herself in
draperies and pretend that she was a
dancer. At four, she began to study this
art and it was not until she was eight
years old that she was ever on ice skates.
She learned just as other beginners, with
many a hard bump tossed into the bargain,
but once she'd found her legs, so to speak,
she began to show definite talent for skat-
ing. At nine years old she won the junior
competition of the Oslo Skating Club. She
won it again the following year and at
eleven she won the Norwegian champion-
ship and went to the Olympic games In
Switzerland, just for the experience. She
knew, at that time, that she had too much
to leai-n before she really began to skate
seriously. She began a gruelling routine of
practice, staying on the ice as much as
six hours a day and when she was thirteen
years old she placed second in the world
championship matches in Stockholm. The
following year she moved from second
place to first. Since then she has been
thrice winner of the Olympic figure-skating
championship ; seven times winner of the
European championship and ten times
winner of the world's championship. She
owns enough silver cups, gold medals,
placques, certificates and testimonials to
fill a small sized truck. In 1929, she decided
to join the ranks of the professionals. Her
first professional appearance was in Man-
hattan's Madison Square Garden and the
house was packed to the rafters.
Her beauty and grace won her a contract
with Twentieth Century-Fox and "One In
A Million" was the result. "Thin Ice" came
second and her third and current picture,
"Happy Landing" finds her ranking with
the top stars of the industry. She's five-
feet-two, weighs a hundred and ten pounds,
has pale gold hair and deep brown eyes
and is one of the most popular belles of
Hollywood. (Continued on page 75)
INFORMATION DESK, MODERN SCREEN.
149 Madison Ave., New York, N. Y.
Please print, in this department, a brief life
story of:
I'd like a letter from
Name
Street
City State
If you would like our chart with weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
Because it's Germ-free and Guards
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10VELY Hollywood stars adhere to a
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cover mailing costs.
Name-
23
MODERN SCREEN
All is woe for Jimmy Stewart as old He likes books, but wishes he didn't when
debbil moving day arrives. it comes to packing 'em.
From the looks of things he's probably All in. The trunk did it, but with Ma and
forgotten more than he's packed. Sis on hand, he'll be okay.
24
MODERN SCREEN
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MODERN SCREEN
y/6
« •
.4.
30
r
THE RODEO OF RADIO! THE TEN'
RING CIRCUS.40F PICTURES!
IT'S STARS,
IT'S TUNES, IT'S LOVE, IT'S GIRLS.
IT'S THRILLS, IT'S FUN, IT'S GREAT!
DICK POWELL • ROSEMARY LANE
HUGH HERRERT • TED HEALY
.ENDA FARRELL40LA LANE- Johnnie DAVIS -Alan MOWBRAY
MABEL TODD • ALLYN JOSLYN • EDGAR KENNEDY
and Direct from the Orchid Room of (he Air
THE HOLLYWOOD HOTEL PROGRAM
LOUELLA PARSONS
FRANCES LANGFORO • JERRY COOPER • KEN NILES • OUANE THOMPSON • RAYMOND PAIGE & HIS ORCHESTRA J<i^ ^
RENNY GOODMAN & His ORCHESTRA^
^ Directed by \
BUSBY BERKELEY
Maurice Leo • Music and Lyrics by Dick Whiting and Johnny Mercer • A First National Picture
31
Tony says,
"Alice did all
right before I
came along, so
I'm not going to
'improve' her."
A good tip for
husbands.
SOMETHING over a year ago, a dark young man stood
in an office on the studio lot, staring up at the picture of
a fair-haired girl.
"That's Alice Faye, Tony," said the office's occupant.
"Do you know her?"
"Just to say hello. But how I wish I knew her well
enough to date her."
"Well, you've got a spot in her next picture."
"Yes." He turned and grinned. "I think I'll get me
a sandwich sign and parade around the set. 'This is Tony
Martin. He thinks Ahce Faye is swell'."
Tony managed to convey his admiration by less drastic
measures. Alice thought he was fun. Her youth and
gaiety responded to his. They were both movie fans.
They both liked to go to Ocean City and ride the roller
coasters. They both liked to laugh, and the same things
made them laugh.
It wasn't long before Tony knew Alice, not merely
well enough to date her, but well enough to date nobody
else. Of course, speculation grew rife. Here were Alice
and Tony going out together week after week, month
after month, smiling blandly at questions, keeping their
own counsel. Like all young people, they had their tiffs.
In spite of tiffs, neither ever sought to punish the other
by appearing in public with someone else. When they
didn't go out together, they didn't go out. Would they
marry? Wouldn't they marry? Were they married?
The columns rang the changes on that theme.
Logical or not, the impression you get of your screen
favorites is moulded by what they do on the screen. Be-
cause you've seen Alice sing and laugh and banter her
way through picture after picture, you think of her as a
happy-go-lucky youngster, more likely to plunge head-
long into marriage than to waste much reflection on what
marriage entails. You were never farther from the fkcts.
"First of all," she says, "I didn't fall in love with a
bang. I thought Tony was grand company, and I knew
I was having lots of fun with him. But I'm no school-
girl. You don't marry a man just because he's good com-
pany. I knew there'd come times when life wouldn't be a
merry-go-round. I knew — " her eyes looked into space,
"because I'd been through them. Then, little by little, I
began to know him better. I saw how kind, how
thoughtful he was — "
She was stricken with the flu and had to spend two
weeks in the hospital. The nurse came in the first morn-
ing with a box from Tony. It contained a single gardenia,
Alice's favorite flower, and folded in tissue paper beside
it, a blue hair ribbon, just long enough to go round her
yellow head, with a perky bow on top. Next morning the
ribbon was rose-colored, next morning orchid. Every
morning while she stayed in the hospital, the little offering
arrived — a white gardenia and a fresh, satiny ribbon, that
was never twice the same color.
"That may seem like a little thing, but to me it was a
sign of something not so little. Any man might send a
girl flowers. Any man wouldn't realize what a kick she'd
get out of a yard of ribbon for her hair. Or if he did, he
wouldn't go to the trouble of picking a different color
each day. Every morning, before we opened the box,
the nurse and I would guess what color the ribbon was
going to be. That was the da.y's chief excitement, and
you can't imagine how exciting it was unless you've been
in a hospital. Then she'd tie it round my head, and then
she'd bring me the mirror. And I'd lie there, feeling as
dressy as a queen."
"It's good for my morale," she told Tony when he
came to se? her.
"You're good for mine." He said it lightly, but he
meant it deeply. Almost from the first, Tony had known
that he wanted to marry Alice. It was she who felt she
must make sure. Little by little (Continued on page 82)
So happy, Alice and Tony Martin have a
neat philosophy on how to stay that way.
Alice Faye as Belle in "In Old Chicago"
with Don Ameche and Tyrone Power.
KATHARINE HEPBURN, American-born, is Holly-
wood's most baffling enigma. As a riddle, not one foreign
exotic can compare with her.
Garbo is a woman of mystery only because she lives a
secluded life behind a high wall, because her thoughts are
carefully guarded secrets, never told.
-Marlene Dietrich has said that she envied Garbo her
mystery. The inference was that she wouldn't mind being
mysterious herself. And Marlene has amassed a fair
reputation for mystification not by shutting herself in an
ivory tower, or going into a great silence. Marlene simply
does the unconventional, indifferent to any rumors that
will attempt to explain why. She is baffling because of
her bland aloofness.
But, without trying, Hepburn is mystifying.
Upon her arrival on the cinema scene, Garbo was a
normal young Swedish girl whose outstanding trait was
self-consciousness. She didn't have much to talk about,
but she was eager to be friendly. And Dietrich was an
average German woman, so un-exotic that she wore a blue
frilly dress and a pink picture hat to her first Press party.
She' was obviously awed by Hollywood. Garbo and
Dietrich, easy to know at first, have changed. Hepburn
hasn't. She never was easy to know. And, as she was
in the beginning, so she is now — even more so.
As a dual personality, Katharine Hepburn is the all-
time champion. Today, you may have one impression of
her; tomorrow, a contrary one. She is an amazing col-
' lection of contradictions. For every trait that you find in
Katie, you will also find its direct opposite. She is both
bitter and sweet ; courageous, yet craven"; short-tempered,
yet patient ; pennywise, yet generous.
. A few months ago, her contract came up for renewal.
Her studio wanted to sign her again, and she was willing.
But there was one discordant note in all the harmony.
They couldn't get together about salary.
The Hays Office bans publication of stars' salaries.
There was no need of anyone's knowing what Hepburn
received. If she signed for less money than she asked,
there was no danger of her losing prestige. But she wanted
that increase. And she held out until she got it.
Getting that extra salary mattered to Katharine Hep-
burn. Not only because it would make her a high-priced
star, who wouldn't be given minor pictures, but because
it would mean more in the bank.
And most of Katharine's money is in the bank. She
isn't a girl who starved once and is saving desperately to
avoid ever starving again. She is a girl who has never
had to worry about money. Her family has always been
well-to-do. Yet she saves more than any other feminine
star and has a good business head. She is character-
istically frugal.
She lives in an unpretentious rented house. She has a
big limousine for her rare evenings out, but, most of the
time, she drives the station wagon she has used for years.
She is not famous for her off-screen wardrobe. She seldom
entertains. She is, according to the well-known Hollv->
.wood standards, pennywise. (Continued on page 96)
Katharine Hepburn's so un-
predictaMe that she must,
at times, puzzle herself!
BY JAMES
B Y. IDA Z E I T L I N
CDinFiHimn
career m
pictures before he'd do without love
STRIDING toward me where I waited on the sidelines
of the set, came a negligee, pink as a cloudlet at dawn,
delicate as a cobweb, the kind of negligee that calls forth
visions of dimples, rosebuds and golden ringlets scented
with Chanel No. 5.
From the wide, maribou-trimmed sleeves emerged a
pair of muscular arms. Under the swirling skirts two
large feet, encased in disreputable slippers, bore their
owner onward. From the cloudy fluff at the throat rose
the lean head of Gary Grant.
"Go ahead. Laugh. I dare you," he said, flopping into
a chair and disposing his skirts so the dust wouldn't
catch them.
The negligee is part of a curious wardrobe wished on
him by the plot twists of "Bringing Up Baby." Pursued
by a dog, a leopard and Katharine Hepburn, he's bereft of
his garments and forced to parade in whatever choice
bits of apparel the lady doles out to him.
"Item," he said, marking them off on his fingers. "One
swallowtail, without tails. Item, one pink hunting coat
with Japanese slippers. The first time I go out on the
/set, they whoop. The tenth time it's funnier than ever.
I hope the cash customers' reaction is half as good. In
'The Awful Truth' they rigged me up in a midget's
nightshirt that came to hefe. A bloomin' clothes horse,
that's what they're turning me into. What the well dressed
loon will wear. How I' suffer. Lord, Bergen, how I
suffer." He crossed his long legs, drew his chiffon
draperies tenderly about them and turned conventional.
"Want to hear how I suffer ?
"A friend of mine went to Africa. I was worried
about him, you know, sometimes the lion sees you first.
'Gary,' he said, 'you face more occupational hazards right
here in Hollywood than I'll see in a month of jungles.
Think it over, old chap.' I liked the sound of that occu-
pational hazards, made me feel like something. So I
thought it over and saw he was right.
"For 'instance, we work with a leopard in this picture,
Miss Hepburn and 1. She's the baby we bring up. She's
a tame leopard. We take that on faith. Baby won't
make, any statements. She's a movie star and she doesn't
have to. She's got as many spots as a wild leopard, and
she's got as many teeth and she's got as many claws. But
all right, she's tame. In this country a leopard's innocent
till she's proven guilty.
"Still, she's kept in a cage when she isn't working, just
in case. When she is, her owner stands by with a whip,
just in case. We don't probe any farther than just in
case. We don't pry into its implications or take it apart
to see what makes it tick. A leopard's entitled to her
private life. Katie may say: 'Who's your closest rela-
tive, Gary, just in case?' I may reply: 'Strew buttercups
o'er me, just in case.' We're merely being whimsical.
We're not afraid of the leopard. vShe's tame. Her keeper
said so.
"So here comes a scene with the leopard. She's sup-
posed to have formed a fatal attachment for me. She
loves me, in the story. About the time I'm left alone
with my feline love, I begin to wonder whether she's
read the story.
"We're supposed to be strolUng lightly through the
woods. I'm strolling lightly all right, on eggshells. The
girl friend rumbles. I don't understand leopard double
talk. Besides, there's another complication. We've got
a second leopard. She's not so tame and she doesn't love
me. Suppose I've got the wrong leopard by the tail. I
find myself throwing her sickly smiles, the kind you keep
for influential producers, 'nice producer, smart producer,'
that kind of thing. She rolls her eyes at me. Maybe it's
passion and maybe she's hungry. How should I know?
All I know is, I've got a new job on my hands, yes-man
to a cat.
"Which brings us to dogs." His eyes glinted as he
warmed to his theme. "I played with a dog in 'The
Awful Truth.' I play with the same dog in this picture.
You probably know him. He was Asta in 'The Thin
Man.' His real name's Skippy. That's neither here nor
there. A dog by any name's the worst occupational
hazard an actor can face. Yes, worse than a leopard.
After all, what can a leopard do? Take a chunk out of
your leg. What's a pound of flesh between friends ? You
go to the hospital and you're a (Continued on page 84)
It won't be long now! In fact, by
the time you read this, blonde and
beautiful Phyllis Brooks may be
Mrs. Cory Grant, so fold up your
sighs and heart throbs, gals.
Here we hove Gary in one of those
light comedy moments he's rapidly
making famous. Katharine Hep-
burn is in this scene from "Bringing
Up Baby."
37
mm OF
Eimoits
BY KAREN HOLLIS
IF I started out to tell you about the exasperating bore
I met last week, he'd turn out to be your brother or your
best beau.
"When a delightful man I met in London offered me
the use of his Rolls Royce, two of my not-so-respectful
fans climbed on the running boards and broke the practi-
cally-priceless handles off the doors.
"I always plan more than I can possibly do, and I live
in a state of chaos. Our house is a madhouse where the
servants fight all the time. Just when everything calms
down momentarily and big preparations are under way
for a dinner party, my little sister decides to make fudge.
And if she wants to make fudge, I maintain that everyone
else in the kitchen can just stand aside.
"There is a candid picture of this Loretta Young with
no retouching, but there is lots more if you want the
morbid details."
LORETTA'S throaty voice starts out all vibrant and
musical and then swells up into fireworks of exuberance.
You wonder where all the gusto comes from as you look
at this exaggeratedly-slim, exquisitely-clad young woman
reclining at languorous ease in a big armchair. Question-
ing her most casually is like gently touching a pearl, only
to find that the pearl controls ai\ electric light switch
that sets bells to pealing, lights to flashing, and thunder
rumbling in the distance.
Looking at her was a pleasure, if somewhat difficult. I
had to find an opening where I could peer between the
huge vases of flowers that were massed on tables and
desk all over the living-room of her suite. From her
sleek and shining hair, simply coiffed in page-boy style, to
her slippers of leopard skin, she was a picture of unruffled
elegance,' except for the gamin-like freckles on her nose.
She was wearing a house-coat of dark brocade gleaming
with bronze figures, that hugged her waist, then billowed
out itjs great swirls of fullness.
How does it feel, you wonder, to have people gaze at you
quite awe-struck and write on and on about your beauty ?
e's a nifty to be pulled, lovely Loretta's there to do it
No, not a tcmance. just
Loretta an<^| fV Power in
a scene froi% their fourth
£ilm«Jtpget^e|, ^4«3econd
bneymoon."
"Whatever is written about
me today," soys Loretta
Young, "I hope won't be
true by tomorrow."
"Oh, I was terribly touched and grateful the first few times anyone
said that I looked beautiful on the screen," Loretta pointed out in a most
matter-of-fact way. "Then I got to wondering why I should be taking
bows. After all, if I were beautiful, it was no credit to me. It isn't even
anything I can control or keep up. I've seen myself in the mirror morn-
ings when I'd frighten you. Anyway, after you have seen your face
projected from a few hundred thousand feet of film, it is just a shape,
no better, no worse than any circle or triangle or trade-mark.
"I have seen photographs of myself where I re&lly liked the expression,
but all the credit for it can be divided among the photographer who
caught what may have been just momentary, a scenarist who may have
given me an intense emotional background for a role, or some friend
whose thoughtfulness and comipassion for others touched me deeply.
What did I have to do with it but try A little, be receptive?
"Having beauty on the screen doesn't covmt for much. I've seen
women who are actually ugly photograph exquisitely. So if anyone says'
I'm beautiful, I think now, 'What of it?'
"Speaking of beauty," she resumed, "you should have seen my first
test. I was a fright. All bones and angles and clumsiness. I don't
know how I ever got into pictures even though they vv'eren't so par-
ticular then.
"But the picture I made when I was fourteen, 'Laugh, Clown, Laugh,'
that was something wonderful. I had the most divine figure that ever
walked in front of a camera, courtesy of Metro-Goldwyn-Mayer. It
was all pads — false hips, false front, false behind." She illustrated
eloquently with her hands.
"iPon't .you roar over old pictures? If I didn't, I'd be miserable.
Minnie Loy sent me some the other day that were unbelievable. Sorry
T can't show them to you, but I've already sent {Continued on page 77)
He's a middleman
WHEN GEORGE Raft speaks of
Virginia Pine he calls her "the girl
I love." When he mentions that ten-
room French Colonial house he is
building in Coldwater Canyon, he
frankly labels it "a love nest."
Then he hurriedly contradicts him-
self. He says he shouldn't talk. He
says, "No matter what I say it's held
against me. I'm the middleman be-
tween two women."
And he seems pretty unhappy. Ac-
cording to his own confession, he is
not only in a spot, but on the spot.
This is how he came to tell me about
it. The hour was eleven in the morn-
ing, the place, George Raft's apart-
ment on the twenty-fifth floor of a
hotel in New York City.
The Killer opened the door. The
Killer is Mr. Mack Gray, combina-
tion secretary - valet - bodyguard - am-
bassador - to-the -press - and-pal-extra-
ordinary, who has stuck close to the
Raft side since it first embarked upon
a public career.
In the living-room, the Killer apol-
ogized. "He's in bed. Would you
mind seeing him that way? Do you
think it's all right?"
When I reassured him, the Killer,
ever one for the proprieties and Emily
Post, said, "I'll go first." With that
he went. Presently, he beckoned.
And sure enough, his head resting
on two pillows, his usually sleekly
By NANETTE KOTNER
between two women-and tells about it!
combed hair touseled a la Skeezix,
his dark face pale, George Raft lay
in bed. He looked miserable.
"I'm sick," he announced with a
sheepish smile. "I don't know what's
the matter. I'm just sick. Tired all
the time, ever since we got here from
the coast. That was last week. I
came East for the ball games. I never
went to the finals. I never went any
place. I just stayed in bed. I'm going
back to California tomorrow."
While Raft spoke, the Killer had
pulled out a chair. Then he quietly
disappeared.
"Why have you been avoiding in-
terviewers?" I started right in.
He denied the accusation. "I see
everybody," he said.
"Oh, no, you don't! You gave me
the run-around last winter, and a re-
porter I know on the coast, and an-
other one here in New York."
HE EXPLAINED last winter.
"My mother, God rest her soul, had
just passed away. I had to settle her
affairs here. I didn't feel like seeing
anyone.
"This year, well, to tell the truth,
every time I open my mouth I get
into trouble." He leaned on one
elbow. "I know you writers have to
live, but why don't you print my
side?" he demanded. "Why aren't
you like the sports reporters? They
don't beat about the bush. They come
right out and ask what they want to
know, just as if you would ask me
whether my wife will give me a di-
vorce, and am I going, to marry Vir-
ginia Pine?"
"I'll bite. Are you?"
He ran his hands through that
rumpled hair. He smiled again, this
time little-boy-like.
"What do you want me to say?"
he asked. "Naturally, I'd like to say
I'm going to marry the girl I love.
I want to, but . . ."
There was a world of unspoken
trouble in that but.
"It's been a mess from the begin-
ning," he told me. "I never wanted
to keep my marriage a secret. That
was the studio's idea. Then, three
years ago, after I met Virginia, and
my wife started suit, we were on the
train from Chicago, and when the
reporters asked Virginia whether I
was married, she, trying to be loyal
to me and my screen contract, said
'No.' In the meanwhile, they had
asked me the same question, and I,
trying to play fair with Virginia,
said 'Yes.' The story came out and
the studio gave me Hell.
"From then on, every time I gave
an interview, whatever I said was
used against me by one or the other.
my wife, Virginia, the studio. You
don't know, you have no idea, the
arguments continue for hours.
"And I'm tired," he said flatly,
"tired of fighting. This can't last
forever. I wouldn't blame a girl if
she did anything she might be sorry
for, if she felt what's the use, where
am I heading for, what am I getting
out of this? As for myself, I can't
ruin a girl's life, take the best years,"
he sighed.
"Virginia's a wonderful girl. She
was married to a milHonaire's son and
wouldn't take money because she
didn't believe in it. But everybody's
different. You know how it is, some
people like spinach."
Then I spoke. "I see by a rival fan
magazine that you have deposited one
hundred thousand dollars in a bank
as a settlement for your wife."
He fairly sprang from the pillows.
"That's not true !" he cried. "You
mean, she wants one hundred thou-
sand. I haven't got one hundred
thousand. How could I have it, with
all the time I've been suspended, and
the two - hundred - and - fi f ty - dollar-a-
week salary I was paid in my early
picture days."
He leaned back again. "I used to
fight more than any of them," he ad-
mitted. "More than Cagney. But
not now. I'm beaten. You can't win
against a big company. I was a little
boy trying to pit myself against a
large corporation. They've licked me.
All I ask is an even break — and peace.
My next picture is 'Spawn of the
North.' I don't even know what part
I'm to play. I'll do anything now.
"I liked 'Souls At Sea,' " he added.
"At least I wasn't a heel. I went
down with the ship. You can't blame
me for having put up a fight. I just
wouldn't play heels like that part in
'The Story of Temple Drake.' No
heel lasts on the screen. The public
won't stand for them.
LAST SEASON, Samuel Goldwyn
sent for me. He was in bed, like I
am now. He said, 'George, I'm a
sick man, but this is a swell part for
you.' And he offered me a fourteen-
week contract to play the heel in
'Dead End.' I turned it down. If
they had let him point a moral, if
they had let him tell the street boys
his life was all wrong, I might have
played it, but not the way it was,
never ! And he offered me top bill-
ing!
"Still, no matter what they say
about me, the answer is there, the
studio keeps on employing me. That
fact .should speak for itself."
I stared at him. And my mind
(Continued on page dl)
George went he-man in a big
way for his role in "Souls At
Sea." Here he is, protecting
Olympe Bradna, who played
his trusting gal iriend.
When he speaks oi Virginia
Pine, George calls her "the
girl I love." Virginia's posing
here with daughter, Joan to
whom Raft is simply "Daddy."
Frances Former is one star
-who refused to be glamorous,
which.decision didn't hurt her
a bit for, after a brief career as
an ingenue, she was soon in
the star class.
BY DORA ALBERT
When Frances Farmer speaks
her piece, things begin to happen
The Hollywood men didn't appeal to
Frances either. But Leif Erickson fixed that.
([^HOLLYWOOD always tries to fabricate a super-per-
sonality for you," Frances Farmer said. "If you're the
sweet type, it presents you as being a hundred times
sweeter than any human could be. If you're independent
and speak your own mind, you're described as a fantas-
tically rebellious person."
We were sitting in her dressing-room at the Belas-
co Theatre in New York. Just a few moments before,
Frances Farmer had seemed glamorous on the stage in
"Golden Boy." Now as she stripped ol¥ the dress she'd
worn oil the stage, as she brushed back her shining hair,
she seemed to be stripping from herself all the habiliments
of glamor and emerging as a human being.
Looking at her, you knew that her features were beau-
tiful ; that no miracle of makeup had supplied the glow on
her cheek, the strange, almost fascinating directness of her
hazel eyes ; that no fake glamorizing process had anything
to do with the intelligent forehead, the wide, sweet mouth.
Few Hollywood women would have dared to face an in-
terviewer as Frances Farmer was facing me, wearing just
scanties ; but her figure is lithe and lovely, and she has
nothing to fear from the most critical eyes. She stood
up for a moment and then began to pull a pair of gray
slacks over her legs; she slipped on a beige jacket and a
blue neckerchief and slipped her feet into low-heeled
tennis shoes.
SHE SAID, "Hollywood makes such a fuss over the
things you naturally take as a matter of course. Then, if
it. runs out of stories, the studio publicists and the writers
get busy and invent them. I used to feel chagrined when
I read things about myself that were not true, but now
. I don't mind. I was annoyed, I'll confess, when an inter-
viewer said that I ate raw vegetables exclusively and
stood on my head to get thin. Anybody'd be annoyed at
"Ebb-Tide," in color, is Miss Farmer's lat-
est, and Ray Milland her leading man.
a statement like that, I think. It sounds ridiculous.
"In Hollywood, any number of methods of conduct were
outlined to me, but the most frequent advice I got — both
from people in Hollywood and from people who'd never
even seen the town — was to keep up a front. Well, I
can't do that. No matter how much advice I got, the
only thing I could do was to be myself. I'd feel like an
ass trying to be glamorous. I'm not the type."
Suddenly, I remembered why I had come. I had heard
so many rumors about Frances Farmer, that she was a
poseur, a fake, a rebel; that she had been a thorn in the
side to interviewers and a pain in the neck to her own
publicity department ; that she had put plenty of do-re-mi
into "Golden Boy" — j^ust for the privilege of appearing on
Broadway. I decided to investigate those rumors.
Frankly, I was prejudiced against Miss Farmer. I
thought of the slacks she wore and the faded green car
she drove and the fact that she had only one evening gown.
All these antics seemed to be part of a carefully calculated
pose.
When Frances sprang that old line on me about wanting
to be herself, I couldn't resist asking, "Why do you keep
on driving around Hollywood in a dinky, second-hand
car? Isn't that keeping up a front — in reverse?"
"I was broke when I got to Hollywood, so it was the
only kind of car that I could aflford," she answered. "Now
I wouldn't dream of getting rid of it because it suits my
needs ; it still runs and it has room enough. When it stops
running, I'll get a new one, but not before that. I don't
think there's any affectation there. I'd be uncomfortable
if I had to sit in a long, shiny car. Besides, I'm. trying to
save money."
Checking up later, I found that there was a reason for
her modest way of living. In spite of the fact that she has
played in two of the very biggest {Continued on page i>3)
43
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besides ^e^J^t-tbrob ^^^^^er-gaUant ^^^f' antics
^f/cSman and tbe f^^^ Vlook^ng rotna
thSl are dozens ot g ^^ct-and-
ebetadTr tbe ^f^'^,, meanie vj^NSe ,s a
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«'en he arnved at
Came .f "^"^f^ouldn't know just
Brent's bie-^^^ ^
«^«*^Tn t one ot tbem.
chances oi«^« essiul
so«^« "^SLer ate pte«V
■^^'°''^V^evWe discovered,
slim, tne^ ^^^^^^
season. h»3^b«a S^a>r
■ . him to action ^ a P'".',!,. off h«
to insP"'"' \,u Constance wor . „gU « ^
in M'lrX^^s ''»"Xirfou\noW *e;f ^Xn
'^"''r Ws St the tecent 1"Ste ,ate-
ieetby B«;„to details "{torn the ge
needn't go ,,„„ve ta» '^n't " ^
iSa wdi^S ^ „e What
Wanna ^^^^ Clarl^GaWe. J
B^'- case Number ;!„SStaf Huh ?;*be he
Js^ love with CatoleJ;"^ <en obtlined by
^:lhe isn't -y;n8> ,,e has ev«_''«^, p.opk
""^fe^Uhea V -'J' ^a" *; ,
liver will be one. „i
there -ne'" , oi the j
nSwbile Carole ^"S^V f t&ion
the gSmor gi't could capwret^
* "He of a Su d-Sarr M*be so bnf t^^.
°^iyv i handson«a^ Cl«„3 to pre r^^ ,et's
and tuny ■». . ^onien. sue ^ase n'!'vJ„,wwood
the «ay « moment from H*^,iest
digressing w ^^^^^ „( the s the ea
tetSmor |itl= ,,„„a, bronzed
oi how Datnita and
TheV v/ere J-^i ^
^i__-somebody's
-^:e"fyHir;s.^f|.fiss;e
Toe\, looking b^e ^^ght and ^^^^^^^^
ssnrt-f'^ri-tr^n^mShtr-^^^^^
azure water_s.^^^ ^ discourse, som
S4'^VhUetbatMron-getheem,'' f-m the
"H'm, 1 1^^^ -r 1 tell you i ^
.Mdsodol. .^,^,,on, "we'll see abou
ft^^' toss ^ou may y^f,^,stant escort for
^T/ U ior l^er and was her ^^^^^^
.he Is en oyxng ^fl^^^.^ he
Well, 1 supPO/V^^ol ^ly"- D^'t she
Didn't she spot mag^tude^ ^ ,ed
SSme a trb:^felopen^-;-/,trplan^^
cbncb tbmgs by conveyance ^ .^ ^^^^a an^
Hollywood wedci j e.^p ^g^^e, rotnai
^^^"^tTJi^^'X 10-^^^ ^tvt' Gen-
other ^fl'^^;^ had been let ^ ^^^^ Taylor
Irish da^^^wktocasebtstories^ ^^^b °Vw\rounds
Gettmgbacy | .^^rftblng on ,1^^ f ^^^^^^
erally '^g^^f taken q-^^^ a^^ rfthousands oi
today. He s .^eantit^' ^ -^oi of tbo^js
that he too ^ox-offtce ^et, barga^n-'i
from bemg a top • guy m
i^' r* :et' gSi'eT"''- '"Sb's eUgibility » *e
headed, sweet, g idermg j,, """^T", 95)
ter^ri-bas^^^^
Barbara Stanw) .-^,u,]j|aHf
Matrii»oi^^°"Xj is okay—
anyone can hoo ^^^^
* \e seems to
side oi ^^""^^^ seems to
This ^Xtis. could Ptob-
Wayne 1^°"'*' « girl i»
ably «^-for^t°*^^"'
Hollyv^ood or
the Kid ^
O 1 ^ ^
to tl
45
His marriage "took"
and no one is more
surprised than Melvyn
Douglas
In spite of being Helen Gahagan's
hubby for seven years, however,
Mel knows five good reasons for kill-
ing the little woman.
TiivcH mim
BY DOROTHY SPENSLEY
A LONG ISLAND husband may want to embroider his
helpmeet with lead because she uses the wrong shade of
lipstick, undercooks the filets mignon, winks at a polo
player.
In Hollywood, nine times out of ten, the cause is less
trivial but more abstract. Invasion of personal privacy
is one motive, and a good one, says tall, good-looking
Melvyn Douglas, late of Diva Grace Moore's newest
opus, "I'll Take Romance."
Hurling invectives at each other in the presence of
assembled guests is another reason for using the ax,
opines Mr. Douglas, who, incidentally, is very happily
married to Miss Helen Gahagan, singer, actress, and all-
around grand person.. They have been married seven
years, come April 5th. "And it looks as though we might
stay married," says Douglas, the daring, defying the gods
with his voiced prediction.
"We have a community of interests. We are both de-
voted to music and the theatre. I have a healthy respect
for my wife's abilities as an actress and a singer, and she
looks with professional pride upon whatever success I
make in my career. It isn't just a matter of sitting around
Hollywood drawing pay checks, which I am glad enough
to receive, but we have the future. When things shape
themselves so it is possible, I, for instance, would like to
return to Shakespeare, as an experiment," says this ex-
46
interpreter of the Bard, "playing Macbeth to Helen's
Lady Macbeth. I've always thought she would be perfect
in the role.
"But before we get into this other ticklish subject, let
me make myself clear. I don't want to do a Rollo boy
around the place and make people think that I know all
the answers for happy marriage. I don't. And don't let
them think that all these things couldn't happen to me.
"What I know is what I practice, and it has worked
in my present marriage. You've got to have mutual
interests, love and respect, and you have to remember to
think of your wife as an individual, not as a personal
possession. She, too, has to remember that you are a
living, breathing, independent-thinking mammal, and not
her slave. Each party to the contract must allow the other
mental, spiritual, but not necessarily physical, freedom.
Then marriage begins to amount to something.
"I'm not an authority, like Russell or Ellis, on marriage
and the relations between the sexes, but if you really want
to know what I think destroys the unity of marriage, it
is trying to remodel the other fellow's personality. It's
a first-rate reason for divorce, or, if you want to make it
stronger, homicide.
"A man usually falls in love with some lopsided char-
acteristic in a woman," continues the tannish-haired
Douglas, "and then proceeds to (Continued on page 79)
EmflEiPflTinc
lllflDGE
MADGE EVANS is going through what she thinks is
one of the most interesting periods in her movie life, an
era of emancipation. For the first time since she signed
on the dotted Hne at Culver City, headquarters for
glamor girls (M-G-M), six years ago, she is being
herself.
You have seen Madge on the screen as a demure blonde,
the sweet, pleasant heroine of light comedies and of in-
nocuous romantic cinemas.
Only twice have you seen Madge put her teeth into a
role and give it what is known as "umph." Once in
"Piccadilly Jim," with, Robert Montgomery, when she
frolicked through a comedy role which was the talk of
Hollywood. Again in "David Copperfield," when she
played Agnes, the English girl.
The rest of the time she has had blah parts and she
has given, if not blah performances, at least nothing to
write home to mother about.
Her hair was artificially lightened so that she was just
another blonde. Part of the publicity build-up on her
was to establish her as the college boys' ideal. She's been
talked about and cast in pictures as that sweet, sweet
girl, Madge Evans.
Miss E. is all washed up with such nonsense. She's
determined to be just herself for a change and see what
comes of it.
"I always did play a better game of tennis in front of
the camera than in real life," she told me frankly, as we
sat and talked about her past and her future over luncheon
at her New York hotel. "And it seems to me I look a
trifle half-witted when I smile in what is the accepted
demure fashion. And, I despise having my hair arti-
ficially blondined. It's naturally light brown and that's
the way it is going to be from now on."
Now what happened to Madge that she has never
really had but two chances at good pictures and then,
when she walloped the tar out of them and won ringing
praise, never got any others? What's this emancipation
all about?
"The studio tried to make me into something I wasn't,"
she answers. "I don't think that ever works, in life or
on the screen. If you're going to be a glamor girl, all
right. Emphasize your own real qualities for glamor,
but don't let them give you synthetic ones, don't let them
give you tennis rackets and smiles and artificiality. And
you must be consistent.
"The studio was inconsistent about me. I don't think
I was ever given a real thought. For instance, I was
called into Irving Thalberg's office one day and told I must
cut out that English accent. It sounded affected, Irving
told me. 'People don't want to hear English girls on the
screen. Be American,' he told me.
"I was a little puzzled, because, of, course, I am an
American and although I've always tried to speak good
English and have good diction, I wasn't conscious of
aping British accents.
"When they were casting 'David Copperfield,' they
were searching frantically for an (Continued on page 86)
Blonde and blah? Not anymore,
declares Hollywood's latest
rebel -and she means it!
BY MARTHA KERR .
BY MARY
MARSHALL
When lovely Norma
Shearer was trying to get
a foothold in pictures, she
had two insurmountable
handicaps to overcome.
She advises all young girls
to do, early, what she didn't.
0
An expert answers
■00^"
Bette Davis, until fourteen, was a plain,
pale-looking kid with not a single distinc-
tive feature. 'Tis personality force which
mCtkes Bette the intriguing person she is.
THOSE in-between years are very trying, when you're
out of the little-girl class and not yet to be ranked with the
debs. Your figure is straight-up-and-down, with not a
curve to grace it; or it's lumpy with what your mother
tells you is "just baby fat, dear — it will disappear;'' or
it's entirely too skinny. You don't quite seem to have
grown up to your hands and feet. Your skin is spotty.
Or if it isn't, your features are downright plain (you
might as well admit it, you think). Your hair is straight
as a string and mama won't let you have a permanent. Or
if it isn't straight as a string, it looks dumb anyway (thinks
you) and not the least bit like Ginger Rogers' or Claudette
Colbert's. And — oh, well, what's the use! You might
as well resign yourself to a beau-less, beauty-less fate.
Come, come. Cheer up. I have a thing or two to tell you.
First of all, prove to me that you have plenty of courage
by taking the following statement without wincing: the
in-between years are a period of readjustment, physically
and psychologically, and you're not going to be the all-
fired wow you'd like to be right ofif the bat. It's going
to take a little time for your figure to iron itself out, for
your skin to clear up, for your features to form and mature
— in other words, for you to become the attractive person
you're going to be. That doesn't mean that you can't do
plenty right now to start the good beauty work. The more
you do now in the way of eating right and living right and
following sensible beauty routines, the better looking you'll
be later on. So, let's get busy.
That skin, now. You have just recently begun to notice
that. you have a skin. A couple of years ago, you were
just a kid, and what did you care whether it was clean or
dirty, so long as you were having fun? First step in the
right direction : make sure it's one hundred per cent clean,
not just superficially clean. Please don't gouge at blem-
ishes on your face. Touch each affected spot with alcohol.
And then leave them alone.
I grant that a spotty skin makes one very self-conscious.
But look here! Don't you know plenty of boys — about
the same age as yourself — whose complexions would never
win any prizes? Does that keep them from having a
good time? Don't they manage to snag a gal to take to
the local dances? Aren't they pretty well liked in spite
of their temporarily unattractive pelts? It always makes
me a little mad that boys can {Continued on page 90)
cries lor beauty advice from anxious girls in their early teens
At the age of fifteen, Jecmette MacDon-
ald had a pair of legs that were first
cousins to pipestems. Jeanie vowed she'd
have pretty limbs. An exercise did it.
Deanna Durbin, sky-rocketing on two pic-
tures, may be a misses' size prima donna
on the screen, but at home she's still told,
come ten p.m., "Time you were in bed."
49
You didn't know them last year, but today ttiay're ttie tops!
IT'S AN old movie custom, at the close of each year, to
pass around the medals for the best this or that of the past
twelve months. Best pictures, best performances, best
direction each comes in for its award of merit. Let us,
therefore, deviate just a step from the beaten track and
nominate the young players who were unknown to movie-
goers just a short year back, the successes of 1937, the
cream of the cinema crop.
First of all, there is Sonja Henie of the flashing smile
and twinkling personality. True, Sonja has cut a big figure
eight in the hearts of sports advocates since she was a
child. She had a way of winning the Olympics year after
year, if you remember. But until the astute
Darryl Zanuck saw her as a picture pos- _
sibility, very few movie fans knew of
her special talent.
Sonja headed a troupe of
skaters who appeared in an ice
carnival on the coast a year
ago. Every producer in the
business was among those
present the night of her
debut. When it came to
praising her talents,
there wasn't a dissent-
ing voice, nor, until
Mr. Zanuck appeared
on the scene, an offer
of a movie contract.
To prove that he had
great confidence in her,
this man put the little
OF THE CROP
Henie into "One in a MilHon" as the love interest. He
could have spotted her in a revue you know, where only
her prowess as a skater would have been revealed. The
picture hadn't been released a month when the producer
knew that he had one of the biggest box office bets in the
business. "Thin Ice," which followed, further proved that
Sonja Henie was one of the year's biggest successes.
When it comes to taking a short-cut to the top, the
youthful Wayne Morris has it over all contenders. Not
only did Wayne score in one year, but in one picture.
"Kid Galahad" put this youngster on the movie map. His
performance in the title role stood out like the proverbial
beacon light, despite the fact that he was in
such expert professional company as
Bette Davis and Eddie Robinson. Yes,
Morris may be short on years ancL
experience, but he is decidedly
long on ability.
Before the traditional movie
scout caught up with him,
the lad's only claim to
dramatic fame was as a
"bit" player in the Pasa-
dena Community Play-
house. He couldn't
believe that he was
actually wanted for
pictures or that he
could possibly pass the
test. Well, you know
the answer, for your
{Continued on page 98)
BY GEORGE BENJfl
50
At the school picnic, Myrna had
on her favorite hair bow and
ate too inuoh ice cream that day*
Jfyrm visits Grandfather's
farm. She was nine and away
from me for the first time.
Ifyrna's twelve here and
stage struck after danc-
ing at the church bazaar.
Myrna and two
friends in our
backyard. She
liked that tree
better than the
others because
it was so easy
to climb into.
'^1
With Brother David,
Myrm is very much
the ^ig sister" here.
This is the pictxire Ifyrm
sent home when she visit-
ed Cousin Alice in Calif,
We are living
in California
otir selves now.
Ifyrna is sixteen
here and still
so interested
in dancing that
she has her own
school.
I must eonfesa I felt a little
shocked when I saw this but
lfyrm*s on the stage, danoing
at the Chinese Theatre I I
never would have dreamed it.
Rudolph Valentino saw her
like this and arranged a
screen test. No results yet,
This is one of
those silly pub-
licity pictures
Ifyrna tells me
every beginner
has to pose for.
I think she's
supposed to be
showing off jsBX
her muscle.
0^
Ifyrna's big mcMnent , She's
all made up here for that
screen test.
Ncfw this is how I like to
see Hyrna, looking herself
without all that make-up.
Myrna done in marble.
Between shows, Harry
F. Winebrenner made
this head which I
think is a very good
JSiyrna's in piotrures in "Pay As
You Enter." Louise Fazenda and
Clyde Cook are with her here.
As State Street Sadie, Myrna is
with Conrad Nagel. The other
man is Archie Mayo, director.
V
/
This Flora Dora picture is one
of my favorites. Ifyrna is the
third from the left.
Myrna was thrilled when she
played with Will Rogers in
"a Connecticut Yankee."
1
3
I»m glad Ifyrna had a part in
"Arrowsmith" with Ronald Col-
man. She did real well.
The picture people think Myrna
makes a wonderful Oriental so
she»s in "The Mask of Fu Msinohu."
Ifyrna with Ramon Novarro in
"The Barbarian." She says
he*s a very big star.
This looks more like my
Myrna in "Topaze" with
John Barrymore .
Ifyrna, with Ifeix Baer and
Walter Huston in "The
Prizefighter And The I^dy."
Myrna 's a star herself now
and she's making "After The
Thin Man" with William Powell.
I am proud of ^yrna in "Par-
nell," she acted her part so
well. Clark Gable is with her,
This is from lfyrna»8 latest
piottire, called "Man-
Proof," with Walter Pidgeon,
1 4
J
I forgot I had these. Ifyrna
will die laughing when she
sees herself in this creation
This was artistic when it was
taken but Myrna's so different
today.
■ffe all laughed when
Hyrna brought this
one home from the
studio • I remember
David said he couldn't
see her for the hair*
This was a publicity picture,
I guess, but Myrna really
likes the water.
I'm glad I saved this because
the costume is so beautiful
and Myrna does look nice in it,
I can hardly believe
that this was Myrna 's
favorite hat when she
posed for this picture »
It was really the
latest thing at the
time though.
I must have ndelaid this
too, so I'll put It here.
I'm glad Ifyrna doesn't
wear costumes like jc±sz
this anymore.
Here's another piottire I'd
forgotten. Beo-ry Norton "was
Ifyrna's first beau. He
was a nioe young man, but
she was only in love with
love in those days.
1
Ginger Rogers is a cinch for a bicycle
ride and when Lee Bowman coasted by
on a studio messenger's bike, she was
right there to beg a spin.
COOD IIEIS
BY LEO' T0WHSEND
Gaiety, glitter and glamor
liolil fortii in Cinema City as
film folk welcome new year
Ginger Rogers is a cinch tor a bicycle ride. Be-
tween scenes for "Having Wonderful Time" the other
day. Ginger was sunning herself in front of the
sound stage when Lee Bowman coasted by on a
bike belonging to a studio messmger. "Hey!"
yelled Ginger. "How <d>out it?" "Okay." sodd Mr.
B., Tery much okay, since Mr. B. has a romcmtic in-
terest in Ginger, so the two of &em went for a spin
around the lot. Stopping long enough, of course, to
pose for our cameraman.
That blonde witli Doug Fairbanks, Jr., at the
premiere of "The Hurricane" turned out to be, of
all people. Norma Shearer. Norma doesn't go out
much^ so catching her at a premiere with a hand-
some yomig gent was a double scoop for Modern
Screen's cameraman, who happened to be the only
bulb clicker present when the blonde Norma made
a late entrance with her escort Others in her
party were Michael Brooke and Doris (Mrs. Mer-
vyn) LeRoy.
In "Homance in the Dark" youH see Gladys
Sworthout getting smacked in the face — and here
and tiiere — ^with a barrage of ripe tomatoes. Paxa-
mount's alert publicity boys decided (publicly) that
California tomatoes kicked the proper squish, so
they wired New Jersey, whose tomatoes ore re-
nowned for that quality, and got a shipment airmail
from an obliging Jersey Qiamber ol 'Commerce.
When the zero hour arrived. Miss Swc^thout was
jittery and insisted that the principal tomato heaver
be her husband, Frank Chapman. They shot the
scene, Mr. C. scored a direct hit, and Paramount and
New Jersey Joined hands to rejoice.
Bette Davis slapped herself out of two days'
That blonde with Doug Fairbanks, Jr. at the
premiere of "The Hvirricane," is Norma
Shearer. Norma doesn't go out much, so
catching her like this, below, is a reed scoop.
In "Romance in the Dork" you'll see Gladys
Sworthout getting smacked in the face with
ripe tomatoes. She insisted that Hubby
Frank Chapman be chief heaver (top).
Bette Davis slapped herself out of two days'
work in "Jezebel," when she bruised her
cheek with a hairbrush. It's an old Southern
custom, instead of using rouge.
Flash! Connie Bermett helps a friend in dis-
tress. When Tennis Star Kay Stammers had
her screen test Miss Bennett helped her
through her fright.
work in "Jezebel." For a scene in the picture, she was
required to indulge in an old Southern custom. It
seems that the belles of the Nineties, instead of using
rouge, brought color to their cheeks by the simple
procedure of slapping them with the back of a hair
brush. La Davis, never one for half-way measures,
slapped herself so hard she bruised her cheek and won
herself an involuntary two-day vacation.
Flash! Connie 3enneH helps a friend in distress. Kay
Stammers, English tennis star (the most beautiful tennis
player in the world, to be exact) was scheduled for a
screen test for a role in the new Bennett picture, "Mer-
rily We LiTe." Miss Stonuners was frightened at the
prospect, so Connie talked her into it. and eren worked
in the test with her, doing the role Bonita GranviOe
plays in the picture. The test was successful, and the
studio offered Miss Stammers a contract Sut the Eng-
lish gal was still frightened — of pictures, not of Bennett —
Three's no crowd
this picture.
Dorothy Lctmour,
Edgar Bergen cmd
Charlie McCarthy
attend the pre-
of "Hurri-
together.
miere
cane
so the deed's ofi and
she's gone back to tennis.
Sonja Henie and
Cesar Romero
were another gay
duo. Doesn't look
as though Sonja's
worrying over Ty
Power much these
nights, does it ?
want to moke anything
oat of it
A fellow visitor on
the "Robin Hood" set
was Wayne Morris, so
we asked him the ques-
tion everybody's asking him these days. "I'm settling down," says
young Mr. M. "Eleanor Powell is the only girl I've been out with
in two months. And here's a gag for you. You can say it's so seri-
ous the studio is planning to star me in a song-and-dance picture."
After finishing her work in "Man-Proof," RosaUnd Russell re-
turns to the set for retakes, only at her studio they're called "addition-
al scenes." Miss R. is genuinely popular with tiie prop men and
technicians on the set. She calls them all by their first names, and
they love it. A non-prop man on hand to greet her was Jimmy
Stewart She calls him by his first nonne. and he <dso loves it. In
fact, he and Rosalind are very much interested in each other. Their
big romance got under way when they co-stazred for four weeks in
a radio seriaL Name of the dramatixationi was "First Love," if you
Spencer Tracy and Paulette Goddard spent most of the
evening in each other's company the night the Racquet
Qub opened in Palm Springs.
A Hollywood paper
recently reported that
after taking Sonja
Henie to a preview,
Cesar Romero sent her home in a taxi and went on by himself to
the Trocadero. What happened was this : Sonja, who had an early
studio call next morning, suggested Cesar take her home and go
on by himself, which he did. Next day at the studio, Cesar com-
plained loudly to his pals about the item, and brought Sonja over
to deny it. "I can't," kidded little Miss H. "Because it's true." So
now all of Cesar's friends are calling him Romero the Rat.
And here's a diet hint from La Belle Temple. We were with a
group lunching with her at the studio commissary recently when one
of the women at the table complained that she'd been' trying unsuc-
cessfully to put on weight. "You should give up cigarettes," an-
nounced Shirley. "WelL that's what the doctor told by brother,"
she explained. (Contintied on f>age 70) '
66
hey know the thrill of
playing the game and
playing it well !
Pasadena ...
Mrs. Rufus Paine Spalding III (below)
This charming California woman excels in
sailing, skiing, badminton ... and is active
in charity work. Here Mrs. Spalding
pauses for a moment on her husband's
sloop, "Hurulu." Like so many distin-
guished women, she is enthusiastic in her
preference for Camels. "Their delicate
flavor suits me perfectly," she says.
"Camels are so mild!"
Philadelphia,.. Mrs. Barclay Warburtoii, Jr.
Although of an old and conservative
Philadelphia family, Mrs. Warburlon
has many interests besides society. She
has a marvelous fashion sense, is an
excellent cook, and ranks high — both
in Palm Beach and Southampton — as a
tennis player. As for smoking, "All I
want to smoke is Camels," Mrs. War-
burton says. "Camels give me a lift!"
^ QUESTION OFTEN ASKED:
Do women appreciate the
CostUer Tobaccos in Camels.
THE BEST ANSWER IS THIS:
Camels are the
largest-Selling Cigarette
in America
Costlier Tobaccos
in a Matchless Blend
iVeio York... Mrs. John W. Uockefeller, Jr.
Young Mrs. Rockefeller's time is crowded
with hunting, polo, aviation. She pilots a
low-wing monoplane .. .takes frequent
hops along the Atlantic seaboard to at-
tend perhaps a meet at Aiken or a Long
Island match. "Flying as much as I do,"
Mrs. Rockefeller says, "takes healthy
nerves. So I prefer Camels for steady
smoking. Camels never jangle my nerves!"
A few of the women
of distinguished position
who prefer Camels:
BOSTON: Mrs. Powclt Cabot
Mrs. J. Gardner Cooli.lge 2ntl
Mrs. Louis Swift, Jr.
CHICAGO:
BALTIMORE
NEW YORK:
Mrs. Nicholas G. Penninian III
Mrs. Thomas M. Carnrgie, Jr.
Mrs. Ogden Hammond. Jr.
Miss Wendy Morgan
Mrs. Howard F. Wliitney
PHILADELPHIA: Mrs. Nicholas Biddic
Mrs. Amhoiiy J. lircxcl 3r(l
VIRGINIA: Mrs. Chiswcil Dubncy Langhorne
LOS ANGELES: Mrs. Alexander Black
Copyricht. 1937. R. J. Reynolds Tob. Co., Winston-SnU-m. N. C
Camels are a matchless blend of finer, MORE EX-
PENSIVE TOBACCOS -Turkish and Domestic.
Jane Withers has decided to make us
readers of Modern Screen a valentine.
When it comes to pasting on the lace,
Janey knows just where she wants it.
Is that a beauty? We'll say so,
and it looks as if Jane likes it, too.
It's a ticklish business, as you can
see here, but Jane remains unperturbed.
But this heart, now, is something else
again. Jane has to puzzle it out.
Everything's done but the address. Look
closely and you'll see Jane's own writing.
MODERN SCREEN
This New Cream with
omn-mamm
brings more direcf aid to Skin Beauty
''Smooths lines out
marvelously — makes
texture seem finer,"
Mrs. Henry Latrobe Roosevelt, Jr.
Mrs. Roosevelt with her hunter, iSutmeg.
A NEW KIND OF (:Rh:AM is bring-
ing new aid to women's skin!
Women who use it say its regular
use is giving a livelier look to skin;
that it is making texture seem finer;
that it keeps skin wonderfully soft
and smooth! . . . And the cream they
are talking about is Pond's new Cold
Cream with "skin-vitamin."
Essential to skin health
Within recent years, doctors have learned
that one of the vitamins has a special rela-
tion to skin health. When there is not
enough of this "skin-vitamin" in the diet,
the skin may suffer, become undernour-
ished, rough, dry, old looking!
Pond's tested this "skin-vitamin" in
Pond's Creams for over 3 years. In animal
tests, skin became rough, old looking when
the diet was lacking in "skin-vitamin."
But when Pond's "skin-vitamin" Cold
Cream was applied daily, it became
smooth, supple again — in 3 weeks! Then
women used the new Pond's Cold Cream
famous for her beauty here and abroad.
"Pond's new 'skin -vitamin' Cold Cream is
a great advance — a really scientific beauty
care. Pll never be afraid of sports or travel
drying my skin, with this new cream to put
the 'skin-vitamin'' back into it."
(Right) On her way to an embassy dinner in Washington.
with "skin-vitamin" in it. In 4 weeks they
reported pores looking finer, skin smoother,
richer looking.
Same jars, same labels, same price
Now every jar of Pond's Cold Cream you
buy contains this new cream with "skin-
vitamin" in it. You will find it in the same
jars, with the same labels, at the same price.
Use it the usual way. In a few weeks, see if
there is not a smoother appearing texture, a
new brighter look.
TEST IT IN
9 TREATMENTS
Pond's, DcpU9IVIS-C0, Clinton, Conn. Rush special
tube of Pond's "Bkiil-vitamin" Cold Cream,
enough for 9 treatments, with samples of 2 other
Pond's "skin-vitamin" Creams and 5 differenl
shades of Pond's Face Powder. I enclose lOfi to
cover postage and packing.
Name-
Slrect-
City —
-Stote-
CopyriKht. 1938, Pond'8 Kxtract Company
69
MODERN
SCREEN
DO XXX'S
SIGNIFY KISSES?
Loretta Young
and David Selz-
nick seem to be
having them-
selves a time at
the Rainbow
Room during a
recent visit to
New York. Mr.
Selznick, you
should know by
now, is pro-
ducing "Gone
With the Wind."
• When people could not write, they used to
"make a cross" — and often kissed it as a sign
of good faith. Hence the cross (on paper)
came to represent a kiss.*
Today, Campana's label on a bottle of
Italian Balm is a '"mark of good faith" with
you. Close inspection has safeguarded your
confidence in Italian Balm from the moment
the "raw materials" enter the Campana labo-
ratories until the bottled product has been
shipped to a store in your community.
Many physicians, dentists, nurses and other
professional people will tell you ttat with
Campana's equipment for
making a skin protector
— plus scientific analysis
and control of manufac-
ture— there's no doubt
that Italian Balm is a su-
perior skin preparation.
Why not try it-FREE?
Get a Vanity Bottle — use
Italian Balm for several
days. Compare results.
(*Authority; ' 'Nuggets of Knowledge' '
— Geo. W. Stimpson, Pub., Blue Ribbon
Books.)
Ga/mlxa/nxiyi
Italian Balm
An Exclusive Formula — A Secret Process
CAMPANA SALES CO.
212 Lincolnway, Bataviii, lllioois
Gentlemen : I have never tried Italian
Balm. Please send me VANITY Bottle
FREE and postpaid.
City
In Canada, Caw
70
, Ltd.. MG-212 Caledonia Rd.. Toronto
Good News
(Continued from page 66)
Questions without Answers: What sing-
ing star, for a time a favorite guest at the
home of one of Hollywood's top glamor girls,
is no longer asked to drop in? Reason: She
wore out her welcome and too much effort
making a play for the glamor girl's gentle-
man friend.
On a set recently we were discussing
with a young actress the trials and tribula-
tions of another performer in the same pic-
ture. It seems production had been held
up considerably by her continual bungling
of her lines, and some of her co-workers
were complaining. But not our young
friend. "I think she's wonderful," the gal
said. "Every time she speaks a line we get
an extra day's work."
Talked to Carole Lombard on the "Food
For Scandal" set the day it went into pro-
duction. Said Miss L.: "I think I'm still wet
from being dunked in Lake Arrowhead for
dear old 'True Confession.' " She must have
been right, for she spent the next few days
at home with a severe cold. Incidentally,
Carole and her co-star, Fernand Gravel, are
getting along fine. On the set the first day
Carole, in a prankish mood, slipped up be-
hind M. Gravet and administered a surprise
prod in a most sensitive section of his anat-
omy. Several days later. Gravel solemnly
returned said prod.
Know where Barbara Stan-wyck keeps
her telephone? Well, she keeps it in her
stable. Miss S., out on her new ranch,
wanted to go really rural, so she decided a
phone in the house was too modern a touch.
All of which means that all those trans-
atlantic calls from Bob Taylor, when he
was in London, were overheard only by
Barbara's horses. Taylor, incidentally, is
the only person who has the phone number.
When Barbara's studio wants to get in
toucli \\\t\\ her, they have to do it by wire.
Now that the air is full of movie com-
mentators, listeners are able to get seven
or eight distinct and different reports on
everything that goes on in Hollywood. The
other night, for instance, one gossiper in-
formed her listeners that leanette MacDonald
attended the opera in a chinchilla wrap. An
hour later another news dispenser, who prob-
ably couldn't afford chinchilla, told the wait-
ing world that Miss MacDonald was lovely
in a silver fox cape. Confidentially, she
came as Scarlett O'Hara, wearing an old
Southern colonel for a neckpiece, and carry-
ing a bouquet of mint leaves.
There's an old saying that blood is
thicker than water, or scotch and soda,
or something. However, old sayings some-
times take a beating in Hollywood. For
instance : When the Hollywood Hotel
program prepared a radio version of "Sec-
ond Honeymoon," Loretta Young was in
New York, so Sister Sally Blane was asked
to do the job. Sister Sally jumped at the
chance and spent many long hours rehears-
ing her role. She particularly wanted it
to be better than Loretta could have done —
for she knew Loretta would be listening.
Maureen O'Sullivan and John Farrow cele-
brated their first wedding anniversary in
London, and Maureen's entire family came
over from Ireland to watch her emote with
Bob Taylor in "A Yank At Oxford." In a
letter to a friend in Hollywood, Mrs. F. stated
that during the winter months most of the
English picture actors live at the studios —
the fog's too thick to make driving home
practical. Well, that's what she said.
George Raft, who doesn't drink, will have
a bar in his new home, but it will be turned
over to his guests. George, in fact, isn't
even calling it a bar. To him it's a Mem-
ory Room. Reason is that the walls will
be lined with pictures, tracing the Raft
career from nightclub dancer to the screen.
(Continued on page 107)
MODERN SCREEN
Daintiness is mORTANT
This Beauty Bath Protects it...
USE Lux Toilet Soap
AS A SEAUry BATH. ITS
ACTIVE LATHER LEAVES SKI/M
SMOOTH, FRESH-FRAGRANT
WITH A DELICATE PERFUME
THAT CL/NGS.TRV IT!
loRETTA Young-
±T'S Lux Toilet Soap's ACTIVE lather that makes
it such a wonderful bath soap! It carries away from
the pores stale perspiration, every trace of dust and
dirt. Skin is left smooth, delicately fragrant. No risk
now of offending against daintiness — of spoiling ro-
mance! You feel refreshed, sure of being sweet from
top to toe — and you look it!
9 OUT OF 10 SCREEN STARS USE LUX TOILET SOAP
71
lEFEll
EHT m
Fay Wray's favorite des-
sert is this Derby Sponge
Cake, topped with
Marshmallow Swirl
Frosting.
WHEN COMPANY is expected and
you're wondering what to serve them for
dessert, well, let 'em eat cake," advises Fay
Wray, giving us a modern version of
Marie Antoinette's famous speech.
The French Queen made her historic
suggestion when told that the poor folk of
Paris were rebelling because they had no
bread. Fay, on the other hand, does not
suggest cake as a bread substitute but
simply as the ideal sweet with which to
top off any festive meal, be it lunch for
the girls, bridge for the club, a social for
the church, a dinner for the in-laws or a
lavish buffet supper for the crowd.
"Yes, it's a wise hostess who has a first-
class repertoire of cakes," Miss Wray as-
sured me. "Out here many famous folk
are as proud of some special dish that they
serve at parties as they are of the notices
they received on their last picture.
One star is famous for his barbecue
suppers, a couple of others argue over the
respective merits of their Chile Con Carne,
each one demanding top billing for his own
pet version. Many foreign importations
bring their national specialties with them,
with which to astound, and frequently de-
light, the natives. And so it goes, one try-
ing to outshine the other, in a culinary and
party sense, through some one or two orig-
inal dishes not served elsewhere. Or at
least, not found in such perfection !
THEN FAY went on to suggest that many
a clever hostess in the film capital as else-
where, makes a bid for party popularity
by acquiring a couple of good cake recipes
together with two or three frostings, which
can add so much both to their appearance
and taste. Once you've mastered these di-
rections, advises Fay, don't feel for a
minute that you must serve "a new cake"
every time you have company. Just trot
out the old standby, and if it's as good as
it should be, you'll hear only appreciative
exclamations from your guests.
Here are a couple of cake recipes for
you to experiment with — on the family
first, until you have mastered the technique
and until you've decided which of the three
frostings that Fm giving you goes best
with each cake.
The first recipe is for a Sponge Cake.
At Fay's suggestion I collected directions
for making this from the Brown Derby,
where Miss Wray invariably orders it
whenever it appears on the menu. It's a
72
good bet for anybody's money, for though
the "odds" are a bit high where the eggs
are concerned, the omission of butter evens
things up considerably.
The second is a layer cake, another
favorite of Fay's, who varies the frosting
but never the ingredients and the mixing.
Let me add a word of caution here. Do
follow directions carefully for best results.
You can use any of the three frostings
given here. And if you're looking for
novelty and don't shy at a little extra work,
then fix the cake, as I did when testing it,
with the chocolate frosting between the
layers and the swirling marshmallow frost-
ing on the top and sides.
DERBY SPONGE CAKE
5 eggs, separated
1 teaspoon grated orange rind
1 cup orange juice
lyi cups sugar
lyi cups sifted flour
Yz teaspoon baking powder (scant)
l4 teaspoon salt
54 teaspoon cream of tartar (scant)
Separate the eggs. Beat yolks with rotary
beater until thick. Add orange rind and
juice. Beat with rotary beater until thick
and foamy. Add sugar gradually, beat-
ing well after each addition. Sift flour,
measure. Add baking powder and salt and
sift twice. Add flour mixture to
egg yolk mixture. Blend thoroughly but
lightly. Whip egg whites until foamy, add
cream of tartar and beat until they will
hold up in peaks, stiff but not dry. Com-
bine with egg yolk mixture, folding together
gently until thoroughly blended. Turn into
ungreased tube pan. Bake in moderate
oven (350°F.) until done and golden brown
(approximately 1 hour). Invert in pan to
cool. Remove from pan. Cover with
Orange-Coconut Icing.
LAYER CAKE
2 cups sifted cake flour
% teaspoon salt
3 teaspoons baking powder
^2 cup butter or other shortening
1 cup sugar
2 eggs, beaten
% cup milk
1 teaspoon vanilla
Sift flour, measure. Add salt and bak-
ing powder and sift together twice. Cream
shortening thoroughly. Add sugar gradu-
ally, creaming together thoroughly after
each addition. Beat eggs, without separat-
ing, with rotary beater, until light and
spongy. Add eggs to creamed butter mix-
ture and blend thoroughly. Add flour
mixture alternately with the milk, in thirds.
Blend thoroughly, quickly and lightly. Stir
in vanilla or other flavoring. Turn into
2 greased 8-inch layer pans. (Covering
the bottom of the pans with waxed paper
and greasing again prevents sticking).
Bake in moderate oven (37S°F.) 30 minutes
or until cake shrinks from sides of pan
and a cake tester inserted in cake comes
out clean. Turn out onto wire cake rack
to cool. When cold put together, and
cover with Swirl or Chocolate Frosting.
ORANGE-COCONUT ICING
2 tablespoons boiling water
1 tablespoon butter
MODERN SCREEN
BY M A R J 0 R I E
D E E H
Fay Wray says a wise
hostess has a large
repertoire oi cakes
2 cups confectioner's sugar
teaspoon orange extract
orange juice, shredded coconut
Melt the butter in the boihng water.
Add the confectioner's sugar gradually,
beating well. Add orange extract. Add
a little orange juice (approximately 2
tablespoons) very gradually, until icing is
of right consistency to spread. Cover entire
cake, then sprinkle immediately with
shredded coconut.
GLISTENING CHOCOLATE
FROSTING
1 cup sugar
6 tablespoons flour
4 squares unsweetened chocolate
1J4 cups milk
2 tablespoons butter
y2 teaspoon salt^
1 teaspoon vanilla
1 teaspoon glycerine
Place the sugar and flour in top part of
double boiler. Add chocolate, shaved or
cut into small pieces. Add milk slowly.
Cook slowly over direct heat, beating
constantly with rotary beater until choco-
late has melted and mixture is smooth and
blended. Place over boiling water and
cook for IS minutes, stirring constantly
until thickened and then occasionally. Re-
move from heat, add butter, salt and
vanilla. The addition of the glycerine will
give a smoother frosting — one that spreads
easily and has an excellent appearance.
MARSHMALLOW SWIRL
FROSTING
1 egg white, unbeaten
% cup granulated sugar
y2 teaspoon baking powder
3 tablespoons cold water
2 teaspoons white corn syrup
^ teaspoon vanilla
2 tablespoons marshmallow whip
Place unbeaten egg white, sugar, baking
powder, water and corn syrup in top part
of a double boiler. Mix thoroughly with
rotary beater. Place over boiling water
and cook for 7 minutes, beating constantly
with rotary beater. Remove from heat.
Add vanilla. Continue beating. While still
warm add marshmallow whip and beat
until mixture is thick and holds its shape.
Spread evenly between layers and on sides
of cake. Spread on top of cake in swirls.
This is sufficient for a small 2-layer cake.
For 3-layer cake double the recipe.
Here's a great way to beat these ris-
ing food costs! Have delicious
Franco -American Spaghetti several
times a week. Serve it as a main dish
for lunch or Sunday supper, or as a
side dish for dinner. It's marvelous to
make left-overs go further — it turns
them into nourishing, attractive dishes.
But be sure you get Franco -Ameri-
can. This is no ordinary ready -cooked
spaghetti! Just wait till you taste that ap-
petizing cheese and tomato sauce, made
with eleven different savory ingredi-
ents! Your family will never get tired
of Franco-American. It's a great work-
saver, too! You just heat and serve —
it's on the table in a jiffy. A can
holding from three to four portions is
usually no more than lOi — that's less
than 3^ a portion.
Free recipe book gives 30 different
appetizing ways to serve delicious
Franco -American that will save you
time and money. Send for it now.
Franco-flmericatv spaghetti
The kind with the Extra Good Sauce — Made by the Makers of Campbell's Soups
MAY I SEND YOU OUR FREE
RECIPE BOOK? SEND THE
COUPON PLEASE
The Franco-American Food Company, Dept. 62
Camden, New Jersey
Please send me your free recipe book:
"30 Tempting Spaghetti Meals."
Name (print)-
Address
City
-State-
MODERN SCREEN
Raw Throat?
Here's Quick Action!
Zonite Wins
Germ-KillingTestby93to1
If your throat is raw or dry with a coming
cold, don't waste precious time on reme-
dies that are ineffective or slow-acting. De-
lay may lead to a very serious illness. To
kill cold germs in your throat, use the
Zonite gargle. You will be pleased with
its quick effect.
Standard laboratory tests prove that Zonite is
9.3 times more active than any other popular,
non-poisonous antiseptic!
HOWZONiTE ACTS— Gargle every 2 hours
with one teaspoon of Zonite to one-half
glass water. This Zonite treatment bene-
fits you in four ways: (1) Kills all kinds of
cold germs at contact! (2) Soothes the raw-
ness in your throat. (3) Relieves the pain
of swallowing. (4) Helps Nature by increas-
ing the normal flow of curative, health-
restoring body fluids. Zonite tastes like the
medicine it really is!
DESTROY COLD GERMS NOW— DON'T WAIT
Don't let cold germs knock you out. Get Zonite
at your druggist now! Keep it in your medicine
cabinet. Be prepared. Tlien at the first tickle or
sign of rawness in your throat, start gargling at
once. Use one teaspoon of Zonite to one-half
glass water. Gargle every 2 hours. We're confident
that Zonite's quick results will more than repay
you for your precaution.
Always gargle with Zcnite at
the first sigr
, ZONITE
lis 9.3 TIMES
MORE ACTIVE
than any other popular,
hon-poisonous antiseptic
STARS' BAROMETER RATING FOR 1937
We salute the top twenty stars who ranked highest
on Modern Screen's Barometer lor the past year. They
are pictured here in the order ol their rating
17. Simone Simon 18. B. Stanwyck 19. Janet Gaynor 20. Ginger Rogers
74
MODERN SCREEN
Information Desk
(Continued from page 23)
TEX KITTER (First printing) No drug
store cowboy, Tex Ritter. In fact, he was
born and reared in Murvaul, Texas. In
those days, he was known as Woodward
Morris Ritter. It was during his school
days that he adopted the nickname Tex,
which has stuck to him ever since. During
the years when he was ac-
quiring an education he
was not the least concerned
with acting or singing, ex-
cept for his own enjoy-
ment. But v/hile attend-
ing the University of Tex-
as, from which he was later
graduated, he began to
sing his cowboy songs in
public, making appear-
ances throughout the Southeast and giving
lecture-recitals on the Texas Cowboy and
his songs. It was while Tex was attending
Northwestern University in 1930 that he
left to come East and appear in the Theatre
Guild's "Green Grow The Lilacs," in which
Franchot Tone was also featured. During
the run of this production, he also gave
similar lectures to the students of the
Washington Square Branch of New York
ITniversity. After the Guild production
closed, Ritter appeared in a revival of the
old melodrama, "The Roundup," in which
he played the role of Sagebrush Charlie
and received the best notices of the play.
He then appeared in "Mother Lode," a
play which ran for two years. But Texas
was in his blood and after spending a
summer at home, he returned to New York
and became a featured star of the annual
Rodeo at Madison Square Garden. As a
result of his singing with the Rodeo, he
entered radio, writing, singing and acting
in his own program entitled "The Lone
Star Rangers." His radio characterizations
brought him to the attention of Edward
Finney who signed him for Grand National
pictures. He is six feet tall, weighs a
hundred and sixty-five pounds, has sandy
hair, grey-blue eyes and an ingratiating
smile. He isn't married.
Elizabeth Morris, Havershill, N. H. Gene
Autry's latest picture is "Springtime In
The Rockies."
Lawrence Certer, Norfolk, Va. Robert Mont-
gomery has two children. His most recent
live pictures include : "Trouble For Two,"
"Piccadilly Jim," "Night Must Fall," "Ever
Since Eve," and "Live, Love and Learn,"
which is his latest release.
Lucille Barbe, Greenville, S. C, Doug Fair-
banks, Jr., is very much in Hollywood
these days, where he is making "Having
Wonderful Time." His latest completed
picture is "Prisoner Of Zenda."
Beverly Como, Lake Charles, La. Ask as
many questions as you like and we'll do
our best to give you the right answers !
Kenny Baker was born in Monrovia, Cali-
fornia on September 30, 1912. He's six feet
tall and weighs 1(51 pounds. His eyes are
blue, he has a nice disposition and no pet
aversions. His favorite hobby is wood-
chopping and his favorite sport golf. He's
under contract to Warner Brothers but is
now making a picture for RKO-Radio,
titled "Radio City Revels." There, now,
how's that'?
Robert J. Atten, Irvington, N. J. Sorry,
but we cannot give you Franklin Pang-
born's home a<ldress. However, if you will
write him in care of RKO-Radio Studios,
Hollywood, California, he should answer
your letter, particularly if he remembers
you as an old friend.
John Basile, Chicago, 111. "Too Many
Parents" was the title of Frances Farmer's
first picture. Dorothy .Jordan gave up a
promising picture career for marriage. She
is now Mrs. Merrian C. Cooper.
Louise Kedt'ern, Williamsburg, Penn. Ker-
mit Maynard may be reached in care of
Monogram Studios, Hollywood, Calif. He
is thirty-five years old.
M. 3. Cairns, Naugatuck, Conn. You wilf
find a complete life story on Barbara
Stanwyck, answering all your questions,
iWl'STEPPING OUT tonight!
cn ?M BATHING WITH FRAGRANT
SO IM BATHIN ^^^^^^^^ ^^^^^^^
^ SOAP... ITS THE
\ WVELIER WAY
^ TO AVOID
i|j offending!
^ .wcQ \M OUT
WHENEVER ^^HE
W'T^^ ^°^'^^FRE 600QOET
^,TH CASH^'eo SOAP WAT
'^M c.irH A LOVELY
SUCH
V^AV.
CASHMERE BOUQUET SOAPS
RICH, DEEP-CLEANSING LATHER
REMOVES EVERY TRACE OF
BODY ODOR. AND ITS LOVELY
LINGERING PERFUME CUNGS
TO YOUR SKIN LONG AFTER
YOUR BATH... KEEPS WU
FRAGRANTLY OAINTX!
NOW let's see her through bobs e/es
PROTECTS COMPLEXIONS, TOO!
This pure, creamy-white soap has
such a gentle, caressing lather. Yet
it removes every trace of dirt and
cosmetics . . . leaves your skin allur-
ingly smooth, radiantly clear!
NOW ONLY lO*
at drug, department, ten-cent stores
TO KEEP FRAGRANTLY DAINTY— BATHE WITH PERFUMED
CASHMERE BOUQUET SOAP
75
MODERN SCREEN
Maybelline
Solid-form Mas-
cara, in gold metal van-
ity. Black, Brown,
e. 75c. Refills
85e.
Maybelline Cream -form
Mascara, brush, dainty
zipper bag:. Black,
Brown, Blue.
75c.
Maybelline
harmonizing Eyebrow
Pencil. Black, Brown«
Blue.
be without
Maybelline
Eye Beauty Aids
Maybelline Eye Cream
maards against crows -
feet, lines and wrinkles
around eyes.
Maybelline harmonizing
Eye Shadow. Blue. Blue-
Gray, Brown, Green,
Violet.
THE WORLD'S
76
LARGEST SELLING EYE BEAUTY AIDS
Meet Marco Polo. If the orig-
inal looked like Gary Cooper, no
wonder he was a ladies' man!
in the November issue of Modern Screen.
If you cannot obtain this through your
newsdealer, write directly to our subscrip-
tion department, enclosing ten cents an<l
a copy will be mailed to you.
Jack Boyle, Woodbridge, N. J. None of the
stars give their photographs to fans free
of charge. They'd go broke if they tried it !
You must accompany your request with
twenty-five cents for each picture you
desire.
Ella Kapelar, Irwin, Penn. Sorry, but we
cannot furnish the home addresses of any
of the stars. However, if you write Gene
Autry care of Republic Studios. Hollywood,
Calif., he will receive your letter. Attention,
Margaret Clevenger: This also answers your
question.
Freda Karlin, Elizabeth, N. J. Send us a list
of the specific stars whose studio addresses
you want, together with a self-addressed,
stamped envelope and we will oblige.
Bettie Ann Rippe, Tuchahoe, N. Y. Too bad
you've had to wait so long for this, but
ijetter late than never is our motto. Don
Ameche is twenty-eight years old, is six
feet tall, has hazel eyes and his hair is dark
brown. We do not answer questions con-
cerning religion in this column.
CoUis Duncan, Tompkinsville, Ky. Leah Ray
was the girl who sang the song, "One In A
Million," in the picture of the same name.
She used to be with the Phil Harris orches-
tra before going into pictures.
Grace Mary Tarnan, Troy, N. Y. Johnny
Downs was born in Brooklyn on October
10, 1913. He began his movie career as a
child, working in Winkler comedies as well
as Glenn Tryon and Charlie Chase pictures.
Jane Park, El Dorado, Kan. "Beams End" is
the title of the book which Errol Flynn has
written.
Margaret Alexander, Clarksville, Texas. You
will Had a directory giving you the informa-
tion you desire in the June, 1937 issue o£
Modern Screen. Send ten cents to our sub-
scription department and the magazine will
be mailed to you.
MODERN SCREEN
Her Comedy of Errors
(Contimied from page 39)
them on to the family. There was Minnie
in the picture, Carole Lombard, Claudette
Colbert and myself, taken five or six years
ago, and we all looked appalling. We had
our hair done in dips like scallops around
our faces, and we looked too stupid. Min-
nie— that's Myrna, of course — wrote on it
that she guessed that would take me down
a peg, as it had her."
I CANNOT imagine her brooding over
anything, because she laughs too easily.
The sudden crash of anything from a per-
fume bottle to a budding romance would
soon be just an item in her reflections that
life is dizzy, unexplainable, swiftly-paced,
and just too wonderful if you have friends
to bolster up your confidence and can
learn to laugh at your mistakes.
The qualities she most admires are re-
vealed when she speaks of people she
most admires. The words "gentle" and
"sensitive" recur most frequently. Other-
wise, she is worldly with a nice, lustrous
polish over her private emotions. She
seems able to add all the experiences of all
the roles she has played to her own in
real life. The answer, she finds, is, "Any-
thing can happen, and probably will," She
will try to take it in her stride, never let
anything catch her off balance.
"Whatever you write about me, today, I
hope won't be true by tomorrow," Loretta
called back gaily as she rushed into the
next room to answer the phone. "I want
to be subject to change without notice. I
can't stand the thought of getting in a
rut, any rut," she continued briskly as she
It's not hard to tell that Clark
Gable is still Carole Lombard's
favorite boy friend! As for wed-
ding bells, Mrs. Gable is sup-
posed to have said Clark can
have a divorce any time he
wants. Mr. Gable says nothing.
sped back. "For a long time the studio
thought of Young whenever a part came
up that was pathetic and downtrodden.
That was all right for a time. After all,
'Man's Castle,' where I was a waif, is by
all odds my favorite picture. I loved every
minute of it. I adore Spencer Tracy.
"Lately, I have had a lot of lavishly-
dressed parts. 'Second Honeymoon' is a
good picture, I think, but I don't want to
do another dizzy comedy for a long time.
I want to do a heavy costume picture — all
big, tragic emotion. The studio officials
point out to me that they have been in the
business a long time and know better than
I do what the public wants, but neverthe-
less, I want to go dramatic in a big way,
and I'll keep harping on it until they let
me have my way."
"Don't you ever worry about being
typed as a clothes horse?" I asked, in
memory of the tears that have been shed
in my presence over the mean, old pro-
ducers who wouldn't let gals wear rags
and show their art.
"No," Loretta exclaimed explosively. "1
adore clothes and I think people like to
see me luxuriously dressed. I've had a
string of pictures with lots of costume
changes and my only regret is that I made
some perfectly awful mistakes in selecting
the clothes. In 'Wife, Doctor and Nurse'
I thought my hats were grand and the
clothes awful. The blame is all mine. I
selected those outfits. But a lot of letters
have come in from people who were crazy
about the clothes I wore, so where am I?
No matter how you look at it, I was
wrong. Either in choosing those clothes
in the first place or in later thinking they
were atrocious.
"How could I be expected to guess right
all the time? In the past five months in
'Love Is News,' 'Cafe Metropole,' 'Wife,
Doctor and Nurse' and 'Second Honey-
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78
moon,' I've had altogether about eighty
outfits that were all supposed to be
knockouts. That's more than the best-
dressed women in the world expect to find
in three seasons. And they do very little
else."
"Shopping for my personal wardrobe is
a simple routine. I go to the best shops
and say, 'Have you anything so extreme,
so bizarre that no one else will take it as
a gift? I'll probably buy it.' I'm so young
and so skinny that extremes seem natural
to me. Just wait until I show you what
I am going to wear to the Horse Show."
Off she swooped to the next room, re-
turning an instant later with the most
spectacular coat you ever saw. A long
princess affair of black duvetyn, soft as
satin, heavily embroidered just to bolero
length in heavy gold and jewel colorings.
It looked very Persian, very like some-
thing a maharajah's favorite might wear.
"Everyone else seems to be wearing
furs," she pointed out shrewdly, "so this
should be different. I love furs — particu-
larly monkey fur — but I've been wearing
furs so much, I'll enjoy a change. And
the monkey fur hat I got to go with a cape
I have is so divinely mad, you just would-
n't believe anyone would wear it. That's
where Young comes in.
OH, I don't see why you interview
me," Loretta wailed in mock despair.
"No one could learn anything useful from
studying my career. I'm a freak attraction.
Got into pictures when I was so young
and studios weren't sold on years of train-
ing and experience. I've never had a voice
or dramatic coach. I'd be afraid of grow-
ing stilted and unnatural. The fewer
tricks of expression you have, the better
I think. I never have to fight for my
rights at the studio. If I read a part and
don't like it, the directors out at the
studio just say, 'All right, Loretta, go
ahead and do anything with the part that
is simple and natural, just don't ham up
the script.'
"Most of my pictures have been mis-
takes, I think. When I look back at them,
I think I never should have made them.
"My only complaint is that people are
always harping on my youth. But that's
my error. I suddenly realized a while ago
that I've let myself be pampered, depended
on others, my mother particularly, too
much. Until I came East alone this time I
had never bought a railroad ticket, or
tipped a porter, or attended to any of
those little details that children can cope
with.
"I can't expect other people to look on
me as grown up when I do such awful
things. You should have heard me being
every inch the gracious hostess, lording it
over Minnie Loy and Arthur Hornblow
and four others I didn't know nearly so
well. I told them my cook didn't mind
staying in Thursday night, so wouldn't
they dine with me? Then when Thursday
came I was simply dead when I left the
studio. Went right home to bed and had
the second maid bring me supper on a
tray. Of course, the cook was out. I'd
forgotten to tell her there were guests. I'd
forgotten it completely.
"But the guests came, probably just as
tired as I was and much more hungry, and
there was I as comfortable and relaxed
as could be. All I could do was try to
laugh it off and phone the Brown Derby
to send over spaghetti and things that the
guests ate in my room. All very uncom-
fortable for them.
"Oh, I'm the considerate guest, too.
Sometimes I accept an invitation with real
enthusiasm and then when the day comes
sit around the house completely serene
with never a recollection of having made
a date.
"Maybe I should have a secretary fol-
lowing me around like a shadow making
notes all the time, but I'd feel encumbered.
Connie Bennett has someone do that for
her and people adore her because she never
fails them. It wouldn't be natural to me,
as it is to Connie, to carry an entourage
with me.
"I have a marvellous secretary, brought
her over from England three years ago.
When I have her phone someone to make
a date, say for one o'clock, she gives the
message, then adds, 'But you'd better not
expect her before one-thirty or quarter of
two.' That's how people protect me from
my shortcomings."
Loretta's secretary also keeps her sup-
plied with clippings announcing her en-
gagement to one person or another. She
can work up a fine, white-heat fury over
that because often she has never even met
the man mentioned. But it evaporates in
laughter shortly.
"Every once in a while," Loretta assured
me, as we prepared to dash in different
directions, "I think I'd like to be a part
that I'm playing or someone I know who
is greatly loved, but if it came to a de-
cision, I'd rather be me."
Between scenes
for "The Gold-
wyn Follies,"
Andrea Leeds
likes to dash
around in her
speedboat.
MODERN SCREEN
Just like you and you, Judy Gar-
land likes to look over the movie
bill before she goes inside.
Happy Though Married
{Continued from page 46)
make her over after he marries her. A
man falls in love with a woman because
she is never on time and this distract-
ing habit, with its implications of help-
lessness, is what wins her a husband. As
soon as they are married, he discovers
that he wants an efficient wife who has
dinner ready on time, meets him for the
theatre at the exact hour, gets his laundry
back on the dot. He decides to reform her.
He does, but he finds he has lost the traits
that he fell in love with, and is married
to a stranger The same thing happens to a
woman in marriage. She reforms her hus-
band and falls out of love."
Theoretically, he told me, he and his
wife don't believe in marriage. Not as an
Institution.
THE answer is that the young Doug-
lases weighed their problem well be-
fore they decided to wed. Did they want
marriage? A lot of parental advice went
into the decision. Miss Gahagan comes
from a large and solicitous Irish family.
Father was an engineer ; mother, Lillian
Mussen Gahagan, came from a musical
family. So, for that matter, did Douglas.
His father was Edouard Hesselberg, Rus-
sian pianist and teacher. Actor Douglas
was christened Melvyn Edouard Hessel-
berg, but bobbed it to Melvyn Douglas for
marquee fitness. He comes by his last
name honestly. On his mother's side of
the house, the Kentucky Shackelfords were
descended from the Scotch Clan Douglas.
As for marriage, Mother Gahagan
wasn't so sure about the permanence of
her actress daughter's feelings for her new
stage leading man in Mr. Belasco's "To-
night or Never." This was in 1930. She
knew Helen was Irish and tempestuous.
About the young man, she was more sure.
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Old home week
in England. Bob
Taylor, Mau-
reen O' Sullivan
and David Niv-
en get together
on location for
"A Yank at Ox-
ford."
He was thirty-ish, had been married once
before, had knocked about in stock and
touring Shakespearean companies, was edu-
cated in Canada, a year in Germany, and
the various American United States. She
liked his topaz eyes and the blend of
features left him by his Russian-Scotch
ancestry. He had a substantial air about
him. He knew what he wanted. He
wanted Helen.
The Gahagans, romantic and Irish,
worked themselves into a fine lather about
Helen and Melvyn. "It's a big family,
and given to conclaves," says Douglas, re-
membering. "Half of the relatives were
very splendid about it, in the English
drawing-room fashion. They declared a
heavy romance would be better and if our
love survived, then we should marry." It
was Mother Gahagan, the reactionary, who
turned the tide toward marriage. Well,
it was a grand wedding, on Easter Sun-
day, 1931. Dr. S. Parks Cadman per-
formed the ceremony in Helen's Brooklyn
home."
Quite unorthodox in his thoughts, Doug-
las surprises by being a staunch supporter
of old-fashioned conventions. But not for
the reasons which the reactionaries might
want. He is all applause, for instance,
when it comes to formal manners and cus-
toms, standardization of the routine things
of life. He'd like to see America with an
accredited set of manners and modes, as,
say, France and Japan have. There would
be no bother about a lot of_ things, like
wondering if social custom dictates white
tie or black on certain occasions, and
whether formal dinner rules couldn't be
stretched to include butter and a hunk of
bread.
"If we only had a set rule of conven-
tions," says this otherwise unconventional
male, "we could devote much more time to
the free functioning of pur personalities
and getting more out of life."
Coming back to the subject of when^ is
a husband justified in batting out the brains
of the missus, he says that too many pro-
fessional marriages hit the reefs^ when an
actress-wife dictates her mate's career
policy instead of maintaining a friendly in-
terest on a strictly hands-off basis. The
same thing applies to the man of the house
if he tries to steer his actress-wife's
career.
The Douglases are remarkably civil-
ized in this respect. When Mrs. Douglas
had an opportunity to sing at Salzburg
in Austria this year, Douglas let her
go with reg-ret, of course, because she
had already been absent from their Holly-
wood home for months to appear in a The-
atre Guild production in New York. But
he accompanied her to Paris (and immedi-
ately returned for picture work) without
an argument. If she thought her career
would gain lustre by a summer in Europe,
he'd be the last one to complain. And
when a certain Grade A cinema charmer
asked him to accompany her to a premiere,
in her husband's absence, and Douglas went,
Mrs. Douglas understood. It's part of their
marital blue print. Besides, Mrs. Doug-
las actually likes it when her husband ad-
mires beauty in concrete or abstract form.
It's probably this tolerance in his wife
that makes Douglas set so high a value on
personal privacy. It's not the privacy of
the bath or the joint use of his pet razor
that he thinks of when he speaks of pri-
vacy, but a mental and spiritual freedom.
Like most humans, he treasures that secret
spot in his consciousness to which he and
his thoughts can retire. Mrs. Douglas
understands that, and demands no explana-
tion.
"What I don't like to hear," says Doug-
las, reverting to an earlier theme, "is
husband and wife insulting each other
across a dinner table in the presence of
guests, and sometimes hosts. I can't un-
derstand it, unless it is that they have
grown so bored with themselves that it
doesn't make any difference what they say
to each other. And they don't care who
hears. But why can't they reserve their
comments for their home? Why do they
have to inflict their boredom on others?
They think it's amusing and smart and
modern, I suppose, but to me it's bad
manners, any way you look at it."
Another reason, and the last, for sharp-
ening the meat cleaver, is when mutual in-
terest dies, thinks Mr. Douglas. He doesn't
mean when the joys of the honeymoon
wane, but in those later months and years,
when double harness trotting becomes a
routine. Music and the theatre, as he has
said, should keep the Douglases from
knowing the dry-rot of mutual disinterest,
but if the large winged house, or the new
rambling Mexican farm-house they intend
to build, becomes too small for them, Doug-
las can always borrow a boat and spend a
few days on the bounding main. .\nd
though he and his wife don't think marital
vacations are necessary, they do feel there's
nothing like a little absence now and then
to make the heart grow fonder!
80
MODERN SCREEN
On the Spot
(Continued from page 41)
raced back to the two other meetings we
had had; the first, five years before, in
Chicago, when interviews were new to
him and it was difficult for him to talk;
the second, about two years later, when
news of his marriage plus his wife's
threatened suit had crashed the headlines.
His initial screen success had gained
such momentum that, due to the pressing
crowds of autograph seekers he was liter-,
ally held prisoner in his dressing-room at
the theatre where he was making a per-
sonal appearance. Then, too, he had been
uneasy with words, uneasy and nervous and
strained.
Now all the tension was gone. He spoke
well. He has gained poise. He has de-
veloped a sense of humor. He laughs at
himself. For example :
"When I left on this trip, the studio
said, 'Will you do us a favor?' And I
answered, 'Well, I won't kill myself !'
"But the favor practically killed me
anyway," he said. "It was to make a per-
sonal appearance in Boston, two perforrn-
ances. Little did I know what I was in
for.
"At Worcester, while I was still in my
berth, a group of reporters boarded the
train. No one had told me in advance, or
I would have been ready. I had to dress
hurriedly and see them. This meant skip-
ping breakfast.
"In Boston, instead of two personal ap-
pearances, I was obliged to make six, for
which work I didn't receive a nickel. Be-
tween appearances, I was guest at a lunch-
eon, and as I prefer milk and raisin cake
to a lot of fancy food and cocktails, this
meant more starvation for me. In the late
afternoon I had to do an impromptu fifteen
minute radio broadcast. On the way to the
station, our police escort bumped into
another car, and he is still in the hospital
with a fractured skull. In spite of the
shock of this accident, we went right on to
the broadcast.
"That evening, instead of letting me rest
and have dinner, they drove me to the
hospital to have my picture taken with the
hurt policeman. I thought this was
ridiculous. I hate forced publicity. It
looks silly. And does no one good. Any-
way, I was on the go for nearly twenty
hours straight and without food. I've
been in bed ever since."
But Raft had been out for awhile the
previous day. To a Fifth Avenue toy
store to buy ' a clown suit for Virginia
Pine's little daughter. There he was
mobbed by the delighted shoppers. We
talked about the Pine child._
"I suppose," he said, trying to be fair,
"anyone is crazy about a kid he sees all
the time, but honestly she has such per-
sonality. You never saw anything like
it!"
VIRGINIA'S daughter calls him Daddy,
She saw "Souls At Sea," and told a
friend that she cried and cried because
Daddy died. But she added quickly, "It
was only make-believe."
And George Raft's friendship with this
little girl certainly proves that in spite of
his hard-boiled, Broadway night club train-
ing, there is a warm sweet side to him, a
side that is developing more and more.
Take the house he is building. "I hope
they won't fire me before it's paid for," he
said with a wink. "It's a love nest. I
wanted to give it to my mother, but the
very day the builders started, she died."
There was a frantic signaling from the
doorway. And an abrupt, "Excuse me."
The Killer was once more in our midst.
"You gotta get up," he said. "You. got
an appointment."
So I said goodby. And I wished him
luck. "Maybe things will smooth them-
selves out. You deserve a break."
"I hope so," he groaned. "This trip was
certainly a flop." And suddenly remember-
ing the Yankees' sweeping baseball victory,
"You see, besides everything else, I bet on
the Giants !"
Can Rosemary Lane be poking
fun at Dick Powell? It's an off-
stage moment on the "Holly-
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'Who Killed Maggie?'" Alice
Foye takes the stand!
'Sure, I'll speak the truth and
nothing but."
Tony's Wife
{Continued from page 33)
she did. Little by little, her dependence on
him grew until one day it was borne in
on her that, with Tony away, she felt lost.
It came as a kind of original discovery.
"I guess that's how you ought to feel
about your husband," she told her aston-
ished self, and for the first time enter-
tained the notion that this friendship might
end in wedlock.
They were invited to spend a week-end
at the beach home of a friend. That night
they walked along the shore in the moon-
light, and Alice said "Yes."
Then the exultant Tony refused to be
put ofif.
"We ought to wait till I finish the pic-
ture," said Alice.
"You don't even start till next week.
Then there'll be another and another and
another — let's do it now."
"Mother's in New York. We ought to
wait till she gets back."
"She won't mind if you're happy. I'll
make you happy, Alice."
There was something in the way he said
it, that made further resistance unthink-
able.
Back in town, Alice phoned East to her
mother.
"Are you positive and sure?" Mrs. Faye
asked her.
"I'm positive and sure."
"Then go ahead — and bless you both."
They boarded the plane for Yuma, land-
ing under a sun that blazed as the sun can
blaze in Arizona. Alice was frankly in-
dignant. "I wanted to look so nice at my
wedding," she wailed, "and I'm all
withered."
As for Tony, he was probably unaware
of heat, clothes or the ground under his
feet. Standing before the judge, his legs
shook like a couple of saplings in a gale.
"Repeat this after me," said the judge.
And Tony, in a daze, repeated it after him
and forgot to stop.
"In the name of the state of Arizona — "
intoned the judge.
"In the name of the state of Arizona,"
said Tony obediently, blind to the judge's
violently negating head.
"I now pronounce you man and wife — "
"I now pronounce you — " Then Tony
recovered a measure of consciousness, and
slipped the ring on Alice's finger.
"I don't feel married," she laughed a
little shakily, engulfed in her husband's
arms. "It went so fast — "
They had only time for breakfast be-
fore catching the plane back to Los
Angeles. On Alonday, Alice was to start
work in "You're a Sweetheart." They took
an apartment. With no time for domestic
duties, Alice gratefully left the menage in
charge of Tony's Filipino boy, and reported
to the studio. Tony wasn't working at the
moment, so a normal day ran something
like this.
The bride would leave the house at 6 :30.
Tony would generally drive out to the
studio to lunch with her. Sometimes he'd
spend an hour or two on the set. Some-
times he'd watch for a moment, call, "So
long, honey," and disappear. With movies,
a radio program and recordings on their
minds, they were both under something of
a strain. Alike in intensity, drive and ab-
sorption in work, Tony's sixth sense would
tell him when his presence would help and
when it would distract Alice. Sometimes,
after she'd done a particularly difficult
scene, he'd drop down on the arm of a
chair without saying a word ; or let fall a
casual, "We'll go out to the beach tonight
and just sit." She'd go into her next
scene, refreshed by the prospect of a rest-
ful evening ahead.
Always he'd call for her at night and
drive her home. "Would the Mrs. like to
dine out?" he might inquire.
"No, if the Mr. doesn't mind."
This method of referring to themselves
they've taken over, with secret delight,
from the household staff. To their Fili-
pino and to Alice's maid they became the
Mr. and Mrs. by common consent on their
wedding day.
"The Mrs. likes your cooking," they
overheard the maid say.
"I am glad," the Filipino replied. "If I
please the Mrs., the Mr. will also be
pleased."
"That's us," whispered Tony in high
glee.
With no honeymoon and little leisure,
they haven't had much chance for that ad-
justment to marriage which the books tell
us is so necessary. They have instead, a
sober awareness of the problems of mar-
riage, rare in two so young.
"I married Tony," says Alice, "because
I liked the way he was. I suppose I can
go so far as to say the same for him. We
share enough interests to give us plenty
to talk about. If he likes some things I
don't, and the other way round — well mar-
ried or not, we're still two separate people."
So when Tony goes off on Sunday morn-
82
TION OF "WHO RILLED MAGGIE?" BIG PRODUCTION NDMBER IK "YOU'RE A SWEETHEART'
"I was home with Ma that night,
so there!"
ing to play golf — a game Alice has no in-
terest in — she settles contentedly down to
hdng a golf widow while he's away. "After
all, I spent Sunday mornings without Tony
for a good many years. Why should I let
him give up something he enjoys just to
hold my hand? That's kid stuff. And it
sounds as if I were handing myself an or-
chid I don't even rate." A gleam of laughter
flitted across her face. "Because I don't
miss him. I sleep till he gets back."
And if Tony views with alarm his wife's
habit of going breakfastless to work, he
doesn't nag her about it. "Sure I think she
ought to eat more. But I figure it this
way. She did pretty well for herself be-
fore I came along. Why should _ I barge
in with improvements? My ambition's to
be a husband, without being a pest."
They made one other agreement — never
"I'll have YOU know I'm an
honest working girl!"
to read the gossip columns.
As Alice describes it : "Suppose I'm
working, and Tony's off for the day. Sup-
pose I have lunch with someone in the
commissary. I might not even think ^ to
tell him about it, any more than I'd think
to tell him I had my nails done. One's
just as much a matter of routine as the
other. Then suppose it appeared in the
paper. Tony might get sore — not at me,
but whoever put it in. So we just don't
read the columns."
If this sounds far-fetched, consider an
experience Alice had when she visited New
York after her marriage. A reporter ap-
proached her in the lobby of the hotel, his
face drawn in sympathetic lines. "Too
bad about you kids," he sighed. "Too bad
it couldn't have lasted longer."
"What couldn't last?" cried Alice.
"So now YOU know as much as
I do about it."
"Oh, come now. I know you're here for
a divorce."
She gasped, opened her mouth, then
closed it tight and turned away. "Two
months," she commented drily, "and they're
after us already. If I'd denied it, he'd
have printed the denial. This way at least,
there was nothing to print."
Neither she nor 'Tony is making any
large statements. They refuse to be pho-
tographed in ecstatic attitudes, they refuse
to burble, "This is for life, this marriage."
"Too many people have said that and
then gone on the rocks. We're not asking
or making promises. We're not singing,
'Will you love me in December as you do
in May?' We love each other now._ If we
make a go of it now, December will take
care of itself. We're trying, and that's
the best we can do."
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From the look of things, Gary
Grant's lighting up for a session.
Now that he's all set, anything
can happen, and probably will.
Complainin' Gary
(Continued from page 37)
hero. But a dog can cock his head and
make a sap out of you.
A dog sticks out his paw or waggles
an ear, and he brings down the house.
A man sticks out his paw and who the
deuce cares? He waggles an ear, and they
tell him, don't be silly. Silly, my foot.
When a man waggles an ear, he's really ac-
complished something. It's unfair discrim-
ination against the two-legged. By the
time you're through, that dog's given you
afi inferiority complex and a split person-
ality and a couple of hydrophobias.
"And that's not all he does. He's one
of these blinking reformers. He's not satis-
fied to let you be yourself. He wants you
to be Bill Powell. All right, if you don't
believe me, ask Leo McCarey. Ask Irene
Dunne. Ask Skippy.
"We had to do a close-up together in
'The Awful Truth.' An emotional close-up,
looking into each other's eyes. Well, that
pooch wouldn't look me in the^ eye. We
coaxed him, we reasoned with him, we fed
him peanuts. He kept staring straight at
my upper lip. This went on for days.
Finally, you know how it is, you start
getting self-conscious. I'm not one to go
round bragging about my upper lip, but
it's no worse than others I've met. I cer-
tainly didn't see why the dog should get
personal about it.
"One day McCarey claps his hand to his
brow and yells : 'I've got it. He's lonesome
for Bill Powell's moustache.'
" 'Maybe I could borrow it,' I said.
" 'No, Bill's in Etyope, Looks like you'll
have to grow your own, Cary.'
" 'That's easy,' I said, 'compared with
what you'll have to do. Just shoot the
whole picture over.'
"So they go into a huddle with the dog,
tell him I'm really Bill Powell with the
moustache shaved off. He doesn't believe
it. Finally McCarey whispers something
in his ear. That does the trick. He bounds
over, looks me in the eye and they shoot
the close-up.
"McCarey wouldn't give the secret away.
But one day when Skippy was off-guard,
I asked him suddenly : 'What did McCarey
say?'
" 'Harry Cohn,' says Skippy." (Harry
Cohn, be it mentioned, is the boss of Col-
umbia, at whose nod mountains tremble.)
"That covers the wild-life hazard. I
haven't had time to classify the others yet.
So with your permission, I'll lump them
under miscellaneous.
"I was never seasick till they rocked a
boat under me on dry land in 'Sylvia Scar-
lett.' They had to make sure it was realistic
enough. That's where the ocean scores.
She doesn't have to worry about the box
office take.
"I never fainted till a fellow breathed
garlic into my face in 'When You're in
Love.' Realism again, plus the director's idea
of a sweet little rib. Or maybe he thought
I hadn't temperament enough to pretend I
smelled garlic. My head reeled, but the boy
stood on the burning deck through the
reek of fumes. In other words, I fainted
standing up. Try that on your bazooka
some time.
"I never had rigor mortis till I went
into 'Topper.' I don't know how they
worked that disappearing act. All I know
is that Connie Bennett and I had to stand
like a couple of flagpoles in the wind for
twenty minutes at a time while something
happened. If we breathed, they had to do
whatever it was they were doing all over
again. So we didn't breathe. When it
was over, they cut us down and carted us
oi¥ in barrows to be thawed out.
"There's also the danger of being identi-
fied with a part you play and can't live up
to. Pick me a choicer occupational hazard
than that one. Some day when I can of-
ford it, I'm going to hire a writer to sup-
ply me with ofif-screen dialogue. You go
into a picture that crackles with brilliant
lines. Then you go to a party. 'Oh, there's
that clever Cary Grant. He pulled off some
of the cutest cracks in his last picture.'
So they stand around and wait for you to
crack cute. You yell, 'Author, author,' but
he's at some other party. You pull your
own cracks or you don't pull any. Either
way you lose.
"Of course, you can argue that my being
an actor doesn't make me any dumber than
I'd otherwise be. But if I were the milk-
man, the contrast wouldn't be so marked.
As long as I outsmarted the cows, they'd
think I was terrific.
"And that brings us to the final danger."
His lashes lifted, and a curiously level
glance shot from his bright brown eyes.
"The danger of getting your values
wrong."
BY THIS time you're geared to a mood
where you're likely to look behind his
soberest statement for its comic intent. I
was startled to find that there wasn't any.
I was in for a second shock. "I'd give
this all up for peace of mind," he was say-
ing. "Money's important to peace of mind,
T
Whatever goes on, Gary isn't
just sure whether he likes it or not.
I grant you. A moderate amount. More
than that doesn't matter. What do you
do with it? Buy a bigger car. But that
doesn't steady the ground under your feet.
"Doubt away," he said. "Sure, I'd rather
have both. But if I had to choose between
all this on the one hand, and on the other,
a home and children and someone to love
and love me, I'd choose the home, et cetera,
without thinking twice. There is no choice.
One way your life's full, the other way it's
empty."
"Do you plan to do something about it?"
His face turned dreamy. "That's another
weakness actors suffer from. They talk
too much."
The girl he refuses to talk about is
Phyllis Brooks. You saw her in "You
Can't Have Everything," "In Old Chicago"
features her still more prominently, for
But it's all right now and Mr.
Grant can let go and smile.
her studio is grooming her for stardom.
She's the first girl whom Cary has been
seeing steadily since his marriage to Vir-
ginia Cherrill went on the rocks. It's no
secret to his friends that the failure of that
marriage hit him hard. Being a normal
young man, however, with no tendency to-
ward anchoretism, he began going out pres-
ently with this girl and that. The point is,
it was always this girl and that.
It was never the one girl, that is, not
until, fresh from her New York triumph
in "Stage Door," Phyllis Brooks came to
Hollywood. She has been described as a
blonde with a brunette personality. Fair-
haired and blue-eyed, her face is demure in
repose. But in smile or speech, a vein of
quick humor lights it up so vividly as to
give it an almost gamin quality, all the
more piquaint by contrast.
For six months now, she and Cary have
been inseparable. Neither dates anyone else,
"They never seem to run out of fun,"
one of their friends commented. "They
start laughing the minute they get together,
and they never stop."
MARRIAGE, they decline to discuss, at
any rate, where the press can over-
hear them. Otherwise, they're frank in
their preference for each other. They hold
hands at previev/s. They sat in the gal-
lery to see "Dangerously Yours," in which
Phyllis appears. The second feature hap-
pened to be "Topper."
"Let's stay," Phyllis begged.
"But you've only seen it three times,"
protested Cary.
"I don't care," said Phyllis. "I love to
watch you disappear."
After her last birthday, two new rings,
a diamond and a ruby, graced her hand.
"Did Cary give you the diamond?" some
enterprising soul asked her.
"The diamond's from my mother," she
smiled, with the faintest possible emphasis
on diamond. 'Whom the ruby was from
remained undivulged.
But there's no guessing about her new
vanity case with its ruby clasp and its in-
scription engraved in the donor's own
handwriting : "To Phyllis from Cary."
Not long ago, a radio gossiper an-
nounced that they would be married within
two weeks. Asked to verify or deny the
statement, they replied : "Mmmph 1" In-
terpret it as you like.
The gossiper was wrong. Two weeks
and more have passed, and they're not mar-
ried. But they're still inseparable. Maybe
they haven't made up their own minds.
Maybe they're just not ready to tell.
Faced with a pointblank question, Cary
flashed his faunlike grin, "Guess," he said,
"that's yoiw occupational hazard."
lON'T BE THE GIRL
HO HAS TO
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THEN LOIS TOLD
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MODERN SCREEN
Emancipating Madge
(Continued from page 47)
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86
English girl to play the role of Agnes.
When I asked for a chance, they laughed
and told me to remember I was the college
girl sweetheart, the typical American girl.
T USED to sit in my dressing-room on
the lot and hear them testing girls. Girl
after girl. Practically everybody in Holly-
wood and many from elsewhere. Finally
I went to David Selznick and said, 'Please,
wont you just give me a test? Everybody
else has had one. Just a test, at least.'
Well, he did and I got the role, but I
never could have, if I hadn't practically
begged for it.
"I got the role, but do you think that
changed my luck with picture assignments
and I was given a chance to do anything
else out of the ordinary? Others on the
lot were given chances at strong roles, but
not I !
"I loved doing 'Piccadilly Jim' and the
reactions were good, but that, too, seemed
to have no bearing on my future.
"So, a month ago, when I was called in
and told I was to do a musical at Repub-
lic on loan, I rebelled. It was just another
blah role and I'd had all I wanted. I
bought up my contract and by so doing
bought my freedom.
'What the future will bring, I don't
know, but I am having a marvelous time
being myself for a change. I'd like to do
a play on the New York stage, if I could
find one, because, of course, it was from
the stage I went to M-G-M and I love
the theatre.''
From the publicity copy which has been
released about Madge, you probably re-
member her best as a child star in films
and as the little girl who posed for those
well known soap advertisements when just
two years old.
She actually was a child star and her
first full length film was "Sudden Riches"
directed by Emil Chautard, with Robert
Warwick as the star. She also played
kiddie parts with such favorites as Alice
Brady, Ethel Clayton, Montagu Love and
Holbrook Blinn. All these pictures were
done in the East at Fort Lee, New Jer-
sey. She continued these child parts for
seven years, studying with private tutors
between engagements. At thirteen she was
John Barrymore's leading lady in "Peter
Ibbetson" and then when fourteen, she
played opposite Richard Barthelmess in
"Classmates."
Then came the stage, one of the happier
periods of her professional life. She did
stock in the East and in the West. She
remembers coping with unexpected sound
effects in the form of fruit trains rumbling
by the little summer playhouse at Milford,
New York. Says she :
"During the harvest season, you'd get
as many as half a dozen trains in an eve-
ning. The playhouse was near the rail-
road track and when a freight rumbled by,
you couldn't hear a word from the stage.
So we adopted the simple expedient of
quickly flashing out the lights, leaving the
house in darkness until the last fruit car
pulled around the bend. I remember one
night we had a dreadful time staging a
shooting scene in 'The Bad Man.' Just as
the leading man would pull his gun and
get ready to shoot up the place, here would
come a train, and out would go the lights."
She looks back with fond recollection
on eighteen weeks spent at the famous
Ellitch Gardens, in Colorado, where so
many fine actors and actresses had their
start and where it is still considered an
honor to get an engagement.
She was on Broadway in such plays as
"Conquering Male," "Dread," "Our Bet-
ters," "The Marquis" and George Kelley's
"Phillip Goes Forth," which was the play
that attracted the attention of M-G-M.
What manner of gal is this new emanci-
pated Madge Evans, who at this writing
hasn't yet a job?
Meet Madge as I did, in such a setting
as a fashionable Manhattan hotel, fre-
quented by the loveliest and best dressed
women of New York, and you are struck
instantly by her beauty.
Che has a lovely, finely chiseled face,
^ clear blue eyes, a sensitive mouth. She
talks quietly but she neither minces words
nor does she go overly-dramatic. She gives
you a feeling of confidence in herself and
her ability. As a matter of fact, Madge
Evans is a whale of a good actress, is
recognized as one.
Says Una Merkel, who is some shakes
of a comedienne herself : "Madge is a
wonderful actress. Put her into comedy
and she has few peers. She has a gift for
it. I love to play with her."
It is the Merkel girl, one of the real
honest-to-gosh people in Hollywood, who
is Madge's best friend.
Once upon a time, the studio, whooping
up a little more of this synthetic aroma
about Miss Evans, tried to whoop up a
feud between the two girls. A whispering
campaign was started which went like
this :
"Watch those two dames. Sure, they are
pleasatit to each other's face, but there's
real rivalry and jealousy between them.
Two comediennes ! Did you ever know it
to fail?"
With less well-poised individuals, the
feud and the ensuing gossip might have
started something akin to dynamite. But
Madge and Una laughed the unpleasant
story off, and gradually the rumors died
down.
Madge's boy friend is Tom Gallery, tall,
quiet Los Angeles prize fights promoter
and one-time husband of Zazu Pitts. They
have gone together steadily for about four
years and while they have never admitted
an engagement or plans for a wedding, it
is generally accepted in Hollywood that
some day they will take the marriage vows.
Although Madge refuses to talk about
her feelings for Tom to anyone at all, even
her best friends, those who know her well,
think that she is very much in love. She
has dates with Gallery several times a
week. They have been seen attending
church together of a Sunday and he is at
her home many evenings a week.
/^NE story in Hollywood is that their
marriage has'^'been postponed because
of Gallery's pride, that he wants to make
his own pile and be financially independent
of a movie star wife, before he asks her
to be Mrs. Gallery. Another legend is
that they ate already married.
Whatever is true, j'ou can rest assured
that the Evans-Gallery combine is not an-
other one of those publicity-concocted
romances. Tom gave Madge a yellow
sports roadster a few months ago and it
was six weeks before the news leaked out
and then inadvertently, as to the name of
the giver. Madge has positively refused
to let anything synthetic creep into her
personal relations. More power to her.
And let's hope the period of emancipation
from gooey roles and pictures works won-
ders for her professional career, for that
gal definitely has something on the ball.
MODERN SCREEN
How to win against
SKIN TROUBLE
IF YOU HAVE ANY OF THESE
COMPLAINTS, DON'T DELAY,
BUT START NOW TO FIGHT
THEM WITH A PENETRATING
FACE CREAM
This may just be a scene from
"Love Is Where You Find It," but
George Brent and Olivia de Hav-
illond find it nice to be together,
off the screen, too!
Between You 'n' Me
(Continued from page 21)
Perhaps, however, Grace does not want
to share the honors with Nelson. If this
is true, then she is the loser, because,
although she may not realize it, there are
still plenty of people who have never seen
her — and many of them might be followers
of Nelson's. So how about teaming them?
What do you say, fans ? — Ruth King,
Cranford, N. J.
$1.00 Prize Letter
Putting Arkansas on the Map?
In the December issue, Grayce Higgin-
botham said that the "antics and so-called
witticisms of Bob Burns are nothing short
of treason to our state." Her beliefs are
certainly unfounded. I, speaking as an out-
of-state person, know that we don't look
down on Arkansas because of him.
Instead of being treason to the state he
has put it on the map. People didn't know
anything about Arkansas but now, at least,
they know it exists. Grayce, you don't
seem to realize what it means to have the
tourist trade Bob Burns has brought
Arkansas. Appreciate him while you've
got him because if and when he gives up
movies, you will fall back into oblivion
once more. — Marilyn Norbeck, Minne-
apolis, Minn.
$1.00 Prize Letter
Burnt Up
I have just finished reading "M'Lady
Minus Make-up" in December Modern
Screen and to put it mildly, I'm burnt up.
I'd like to treat myself to a few choice
cuss words, but being a lady, I won't, but
who the blank blank does she think she is ?
I'm referring, of course, to Rochelle Hud-
son and her conceited remarks about what
a successful actress she is, how popular
she is with men and what an understanding
husband she's looking for. I also resented
her remarks and her poking fun at "a
cottage small with roses round the door
and babies on the floor." She admits that
girls don't like her. All I can say is small
BLACKHEADS?
YES NO
These hateful little specks hide in the cor-
ners of your nose and chin, and don't show
their faces until they have deep roots. Even
one blackhead may prove your present cleans-
ing method fails in these corners. To see
how quickly blackheads yield to a penetrat-
ing cream, send the coupon below to Lady
Esther, today.
DRY SKIN?
YES NO
Move the muscles of your face. Does the
skin seem tight? Can you see any little scales
on the surface of your skin? These are symp-
toms of DRY skin. A dry skin is brittle; it
creases into lines quickly. If your skin is
dry now, then let me show you how quickly
you can help it.
COARSE PORES?
YES NO
OILY SKIN?
YES NO
Does your skin always seem a little greasy?
Does it look moist? If this is your trouble,
then be careful not to apply heavy, greasy,
sticky mixtures. Send the coupon below to
Lady Esther and find how quickly an oily
skin responds to a penetrating cream.
TINY LINES?
YES- NO
Can you see the faint lines at the corners of
your eyes or mouth? If your skin is dry, then
these little lines begin to take deep roots.
Before you know it they have become deep
wrinkles. The coupon below brings you my
directions for smoothing out these little lines
before they grow into wrinkles.
DINGY COLOR?
YES NO
Your pores should be invisible to the naked
eye. When they begin to show up like little
holes in a pincushion, it is proof that they
are clogged with waxy waste matter. When
your skin is cleansed with a penetrating
cream, you will rejoice to see the texture of
your skin become finer, soft and smooth.
If your general health is good, then your
skin should have a clear, healthy color. Very
often the dingy, foggy tone is caused by
clogged pores. If you want to see an amazing
difference— a clearer, lighter, fresher looking
skin, then let me send you, FREE, a tube of
my penetrating cream.
Have you a Lucky Penny?
Here's how a penny postcard will bring you luck. It will bring you
FREE and postpaid a generous tube of Lady Esther Four Purpose
Face Cream, and all ten shades of Lady Esther Face Powder.
(You can paste this on a penny postcard)
Lady Esther, 7110 West 65th Street, Chicago, 111.
Dear Madam: I would like your directions for (check)
Blackheads Dry Skin Oily Skin
Coarse Pores Tiny Lines Poor Color
Please send me a tube of Lady Esther Four Purpose Face Cream, and ten shades
of Lady Esther Face Powder, FREE and postpaid.
Name Address
City-
State-
(If you live in Canada, write Lady Esther, Toronto, Ont.)
(39)
87
MODERN SCREEN
DO YOUR EYES
HAVE it ?
• Express your personality by
your eyes — reveal their size and
brilliance with a frame of sweep-
ing lashes! Kurlash in a few
seconds curls them, without heat
or cosmetics — adds to their appar-
ent length, gives depth and glam-
our to the eyes. Only $1 at all
good stores.
Send your name, address
and coloring to Jane Heath,
Dept. 5, and receive free a
complete personal color chart
and booklet on eye make-up.
THE KURLASH COMPANY
Rochester, New York, U. S. A.
Copyright 19 38, Kurlash Co., Inc.
What a mighty
job a little (;^^
nickel can do
when a cold has you
by the throat.
Cure it? No. But
BEECH-NUT
COUGH DROPS
BLACK OR MENTHOL
can give blessed
relief from "throat \
tickle" that comes
from a cold.
Publicity romance in the making. A couple of stars happen to attend
a preview together, or have lunch or go dancing and, instantly, the
columnists have a news flash. It's love . . . they'll be married any
edition. That's what happened to Wayne Morris and Eleanor Powell,
but don't believe the rumors.
wonder they don't.
I surely think lots less of Rochelle for
saying such things. Does she think all that
bunk is sophistication? Phooey to her
from me ! — Wilma Smith, Ashland, Ken-
tucky.
Bits From Your Letters
"Firefly" is a sad flop here, and many
feel cheated at seeing the vocally restricted
and uninteresting Allan Jones get a better
singing and acting part with MacDonald
than Eddy had in his nineteen minutes in
"Maytime." How did he manage it? —
Carolyn Jacobs, Corpus Christi, Texas. I
have just had the pleasure of seeing Basil
Rathbone in a picture where he wasn't
a stepfather or a wife murderer. What a
joy! — Marjorie Williiioft, Bridgeport,
Conn. Why all the squawking about
double bills? I have been in motion pic-
ture houses in many parts of the world
and have yet to see either ropes or chains
on the seats intended to keep the patrons
in them. — A''. Kifchler, Mexico City, Mex-
ico. I nominate Sonja Henie for the Queen
of Masculine Hearts. So come on fellows
and cast your votes for the little Nor-
wegian froken of the ice skates. — Talley
Jackson, Liverpool, Texas.
Boost your screen favorites by voting on the follov/ing fifteen questions right nov<.
The results of this important questionnaire will be published in an early issue of
Modern Screen. Fill in the coupon (please print) and send it to: Between You and Me,
Modern Screen, 149 Madison Avenue, New York, N. Y.
1. My favorite actor is
2. My favorite actress is
3. Scarlett O'Hara in "Gone with the Wind" should be played by
4. The screen star I like best on the radio is
5. Most handsome man on the screen is
6. Most beautiful girl on the screen is
7. My favorite cowboy star is
8. Most promising screen newcomer is
9. My favorite child actor is
10. My favorite child actress is
11. I'd like to meet this star
12. I like the double feature program (Yes) (No)
13. I'd like to read a Modern Screen life story of
14. The best picture I saw in 1937 was
15. The worst picture I sow in 1937 was
My name is
Address
(City)
(State)
88
MODERN SCREEN
Midseason Pick-Me-Dp
(Continued from page 8)
minute, looking into the future with her
dashing scarf of red-white-and-blue,
which forms a sort of vestee down the
front of her dress. A piece of the same
fabric is pulled through the crown of her
bright red sailor hat and tied at one side,
in back. Bright suede gloves and a plain
dark purse complete this lovely picture.
The striped scarf can be draped in sev-
eral different ways, but it can also be
removed and others of different fabrics
and colors substituted, so that the dress
may be worn for afternoon with a scarf-
vest of gold or silver lame, or for less
formal occasions with a gay plaid or
bright suede scarf.
Now, some of you may think that the
girl who goes out and buys herself a
winter suit as late in the season as Janu-
ary or February is slightly off her base
and belongs in the psychopathic ward-
that she's just plain nuts, in other words.
But, if you're the least bit economy-
minded, you'll see that there is a smart
ulterior motive behind this apparent lack
of the old grey matter.
For this is the time of year when
winter coats and suits are put on sale,
and you can find some wunnerful bargains
if you shop carefully (and have any
money left over after the financial strain
of Christmas gift-giving!). You can wear
your new suit for the remaining weeks
of winter and in the still-cool days of
early Spring, and then put it away fresh
and clean for next winter, when prices
will again hit the top, and you'll be so
thankful you got your winter suit the
end of last season.
GREY is tops with Hollywood's bru-
nette contingent. Dorothy has chosen
this grey cape suit as a perfect foil for her
lustrous blue-black hair, fair skin and
violet blue eyes.
Made of novelty grey kasha, the cape
is lined in grey crepe and trimmed in grey
Persian lamb, which also fashions the
smart jumper and muff. The short
straight skirt is also of grey kasha fabric,
and her perky hat is of grey suede. Her
touches of color on this costume are
found in her bright blue antelope gloves,
and matching bright blue slippers.
Skirt lengths being so very important
at this moment, you have undoubtedly
noticed that the skirt of this smart suit
is quite far from the ground. Well, it
looks as though the short skirt for day-
time wear is here to stay — for a while,
at least. And this means that we must pay
particular attention to our hose. More
unforgivable than ever is the sin of the
twisted seam, the wrinkled ankle, the
stocking that's too tight at the knee. Your
hose must fit you perfectly if you're go-
ing to be well turned out from top to
toe.
So I know you'll be glad to hear that
ihere's a stocking that's made in all sizes
imaginable, for short or long, plump or
thin legs. All the problems of leg sizes
have been carefully studied and a very
comprehensive selection of sizes has been
worked out. You lazybones who hate to
shop will be glad to know that your
shopping is greatly simplified, for all you
have to do is phone for a representative,
who vvill call upon you at your home, take
your individual measurements, and order
the proper sized hose for you in the
newest Spring shades 1 H you would like
to know how to secure perfectly fitting
hose this easy way, just write Ann Wills,
Modern Screen, 149 Madison Ave., New
*lst STEP
Mixing takes a minute.
2nd STEP
Applying takes a minute.
3rd STEP
Resting for 20 minutes.
4th STEP
Rinsing off completely.
This beauty-wise girl knows
that popularity goes hand-in-hand with a clear,
lovely, glowing complexion.
She protects and beautifies her skin with the new
Linit Magic Milk Mask. It costs her almost nothing,
yet keeps her face looking soft and smooth — lively
and vibrant. It's ever so easy to enjoy this marvelous
new home beauty treatment. While simple to apply,
it's almost magical in results!
*Simply mix three tablespoons of Linit (the same Linit
that is so well known as a Beauty Bath) and one tea-
spoon of cold cream with enough milk to make a nice, firtit
consistency. Apply it generously to the cleansed face and
neck. Relax during the twenty minutes it takes to set, then
rinse off with clear, tepid water.
HOW FIRM — how clean your skin will feel ! The gentle
stimulation the mask gives your skin induces the facial
circulation to throw off sluggish waste matter and heightens
natural bloom. This is an
excellent "guide" to proper
make-up, as the bloom in-
dicates where your rouge
should be applied. The Linit
Mask also eliminates"shine"
and keeps your make-up
looking fresh for hours. Your grocer sells Linit
89
MODERN SCREEN
York City, and I'll be glad to give you
full information.
And now, to get back to the subject of
pepping up the jaded wardrobe. Get
yourself something new — anything will
do, be it a new frock, hat or shoes, or a
new set of accessories. If your new pur-
chase is a big item like a dress, then you
must be careful not to get one that is too
extreme in style, for you will undoubtedly
be starting out with it next Fall. See that
it's your type of dress. Don't get it just
because it looks well on a famous star
or an internationally-known duchess.
A PHYSICIAN'S PRESCRIPTION
RUB INan
FOR
DROPS
NHALE
COLDL
good sto res
To relieve
conges-
otnasalmuco"5
membranes
tew drops g'>'«J
dlate cor"'
BoHl(
large
Just a
■im-
itifort.
10c
LARGE JAR ID^
Don't delay At the first
sign of a cold rub on the
chest a liberal quantity
of ZiP Plastik- Vapor. In
this way you help to re-
lieve congestion in the
throat and chest. By in-
haling you relieve conges-
tion in the nose and bron-
chial tubes. Get your jar
today. You will be sur-
prised at the large quan-
tity of this meritorious
product for only 10c.
SENSATIONAL!
The 4-STAR HIT of
the season
This compact little purse-size
tube is saving women tnoney.
It's halting that most exasperat-
ing enemy of attractiveness — stocking runs.
RUN-R-STOP stops runs or snags perma-
nently— carry it with you. Look for the
HANDSOME RED & BLACK VANITY
that protects tube in purse. Only 10c — ask
for it at chain, department and shoe stores.
GUASANTEED BY GOOD HOUSEKEEPING
as advertised fherein.
RUN-R-STOP
ANY COLOR
LIGHT BROWN to BLACK
Gives a natural, youth-
ful appearance. Easy as ^---^
penciling your eyebrows in
your own home; not greasy; will
rub off nor interfere with cur
$1.35, for sale everywhere.
ADDRESS for FREE SAMPLE, Dept. IVI. Feb.,
State original hair color
Brookline Chemical Co., 79 Sudbury St., Boston,
FARR S FOR GRflV HniR
90
not
ling.
'38.
Mass.
Beauty Proilems ol "In-Betweens"
(Continued from page 49)
still get away with handicaps that make
a girl miserable. Guess it's still a man's
world. But, never mind, darlings, go on
and have a good time while you're waiting
for the skin to turn to satiny smoothness.
Begin right now to drink, as soon as
you get up, a glass of hot water with the
iuice of a lemon squeezed into it and a
dash of salt added.
Be sensible about sleep. That's a funny
statement, but I'll explain it. In the early
teens, a great number of things are apt to
crowd in upon us women. We're no longer
little girls who are told to get to bed by
eight. If we use the honorable old excuse
of homework, we can get away with stay-
ing up till all hours. Fact is, at this age,
if we have a great many activities on our
minds, we discover that we can get along
with very little sleep. That is, we think
we can. I did it. Bed at two, up at five.
Cramming for an exam. Staying overnight
with my best friend, talking till three.
Occasional parties, but the Ancient History
2B must be skipped through afterwards. I
lived on so little sleep — woof, it would
kill me to do it now. And, ladies, it isn't
a good idea. You don't feel the reaction
right now, but you will feel it later on.
I don't believe in an out-and-out strict
diet for young folks. I think they need
plenty to eat and when they're hungry,
they should eat. But they can't eat every-
thing they want to. Candy, pies, etc., are
out if your skin is bad or your figure fat.
They're not to be indulged in overmuch
even if you're thin. It would be well if
ice cream were served as an occasional
family dessert and candy used as an after-
dinner sweet. Then allowances could be
spent for movies or Modern Screen or
manicures, and not for magoo at the drug-
store.
YOUR mama is right when she tells you
plump sisters that it's largely baby fat
and will, probably, go away. But there's
always that "probably" which leaves an
element of doubt, so you should concen-
trate on vegetables, fruits, lean meats and
fish. Eat plenty of these sensible foods.
And you can exercise all you please. Keep
your stomach muscles firm while you're
young, and you won't have to worry about
a bulging middle later on.
There's nothing better than this exercise :
lie on the floor, with your arms behind your
head, or crossed on your chest — anywhere
where you won't use them to assist you
in doing the exercise and so ruin the
effect. Bring your legs up to a right-
angle position with your body, heels to-
gether, knees straight. Do it slowly. Now
lower the legs, slowly, very slowly. Let
them down to within a few inches of the
floor. Don't let them touch the floor. Now
bring them up again. Do this five times
without a rest.
And do this — you and your girl-friend
do it together, helping each other. Sit on a
chair sideways, your legs sticking straight
out in front of you. Get your pal to
hold your feet firmly while you do a back-
bend over to the floor. Down and up,
down and up, slowly, five times. Vary it by
twisting to the right side, then to the
left. That's good for a lumpy waistline.
Thin young girls, who iust can't seem
to gain no matter what they do, and who
are nervous and unable to sleep and have
headaches and cannot take a happy, healthy
part in young activities, should see a
doctor. And whatever he tells you to do,
please do. Any sacrifice now will pay
untold dividends later. Suppose he says
stay out of school for a year? Okay, it
will be kinda too bad, being a year behind
your friends and everything, but better
that than feel punk the rest of your life.
Average scrawniness and reediness of
arms and legs can be built up over a period
of eighteen months to two years by the
faithful attention to milk, cream, eggs and
nine hours sleep every night, with enough
exercise of the most unstrenuous sort to
give you an appetite and tire you out a
little. Walking is cheapest and easiest.
Archery, if your school boasts such an
extra-curricular activity, is a splendid
chest-developer.
And here's a leg-builder-upper, offered
by your friend, Jeanette MacDonald, who,
at the age of fifteen, had legs that
strongly resembled pipestems. Now pos-
sessed of a pair of legs which should be
insured whether they are or not, Jeanette
vows that at fifteen her under-pinnings
were first cousins to pipestems. She began
doing, every day, a tiresome and, at first,
difficult exercise and kept it up for a
couple of years.
This is it : stand in your bare feet as
close to the edge of a big, thick book as
you can get without losing your balance.
A soft, bendy book is best. A thick tele-
phone directory or a stack of magazines
two inches high will serve the purpose.
Get way up on your toes and then ease
slowly down till your heels touch the floor.
Come up again and repeat ten times. That's
enough for the first two or three days,
because this exercise catches you in the
leg muscles and makes them pretty stiff.
Increase gradually to twenty, thirty, up to
fifty times each day. Do it very slowly
and feel the pull in your leg muscles.
Think about those muscles while you're
doing the exercise. When you think you're
getting results, add another inch of maga-
zines or another book.
DO I think you should use make-up?
Yes! When? Depends upon your
actual age, your activities, to a small ex-
tent upon the attitude of the community
in which you live. The in-between age is
an elastic period. In big cities, thirteen-
year-olds may be quite grown-up young
ladies. In small towns, one still can find,
"little girls" of sixteen. But generally
speaking, I can't for the life of me see
why a gal, who is no longer a little girl,
shouldn't use external aids to beauty, pro-
vided she uses them in the right way.
Powder. A touch of rouge if she's pale.
Subdued lipstick for evenings and parties.
The softer shades of nail polish — natural,
rose, coral. Rust and the deep reds are
too sophisticated and grown-up.
Powder should be a bit darker than the
skin tone — just the same as for anyone
else. Use a mild astringent if your skin is
MODERN SCREEN
oily. Your powder should be applied by
the "put it on and wipe it off" method.
With a soft, clean, big puff, fluff more
powder onto your face than you need.
Then brush most of it off with a powder
brush or a piece of clean cotton. Brush
extra well over the cheeks, more gently
over forehead, nose and chin. Never scrub
powder into your skin and don't hastily
powder a dirty face. It won't make it look
a bit better, so you might just as well wait
till you can clean up and start fresh.
The best lipstick for most young people
is the variety which changes color when it's
applied to the lips. You get a soft rose,
not a red, shade that's very natural-look-
ing. If this variety happens not to suit
you, get the shade which is advertised as
being particularly good for redheads. The
point here is that most redheads, bemg
notoriously hard to make up, find their
lips turning slightly purple under most
lipsticks. So a couple of far-sighted cos-
metic manufacturers have made a lipstick
containing quite a dash of that pan-
chromatic brownish shade which the movie
stars use before the camera. Put on gener-
ously, then blend and wipe off until only a
becoming film is left, it looks pretty slick.
What about eyes? Older in-betweens
may glamorize the windows of the soul a
little. When one is sixteen, say. Younger
girls should wait. If your lashes and brows
are reasonably dark and plentiful, leave
them alone in the daytime. If they're light
and stringy-looking, however, use a brown
eyelash grower on them for daytime. It
will darken them a tiny bit and encourage
their growth at the same time. For a date
or a dance, keep a nice, soft, brown eye-
brow pencil in a warm place, where it will
soften still more. Feather this pencil light-
ly across your upper lashes. Lengthen the
brow line with it just the least bit — oh,
scarcely an eighth of an inch. If you find
this messy and difficult to do, use the
merest touch of brown mascara, just on
the tips of your lashes.
Eyeshadow is out for the time being,
but you can put a touch of rouge on
your eyelids for evening. Never for day-
time, dears, it makes you look as though
you'd suffered a sudden bereavement. And
even for nighttime, it should be slight. Use
cake rouge and take a piece of cotton and
scrub it over the cake, so that it's very
thoroughly rouged up. Then pat the cotton
on your hand or something until all the
excess is off and you're getting the very
least pink tinge. Or else you can rub a
little cream or oil over your eyelids. Very
little, for you don't want to look greasy.
If you have a very white skin, try this
some time on an evening date : get one of
those white pomade sticks, ordinarily used
for chapped lips. Rub this on your eyelids,
then use a little of the brown eyelash
grower on your lashes and, really, it does
a lot for a girl's eyes and a girl's outlook
Solution to Puzzle on Page 18
L
[USQBiSllS SIS
^BSQI SQIIH Sis
[SSBHSIBIllS BISOS 19
USSSiSS [S3HBI S
SB
Y
N
Claudette Colbert, Charles Boyer, Basil Rathbone, and the remainder of the distinsuished cast
who appear in the forthcomins Warner Bros, production "Tovarich" are typical of the group
of artists who prefer this glamorous refreshing make-up created for them by Miss Arden.
The great stars of Hollywood have found their answer to the relentless cameras, the hot lights,
the demand for glamour and loveliness at any hour of the day or night . . .
They have discovered the new
SCREEN and STAGE MAKE-UP
A complete line of preparations are available
for professional — and taking a hint from the
stars — for private use too. They are priced at
a dollar {$1.00) each, and sold by exclusive
Elizabeth Arden distributors everywhere.
The booklet "Professional Information" M-J,
containing procedure of make-up application
for efective use, 7nay be obtained by writing
Screen and Stage Laboratories, 5533 Sunset
Boulevard, Hollywood, California.
91
MODERN SCREEN
LOOK FOR
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NOTHING is too good for the lord
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And Heinz uses only the world's choic-
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Make sure you're giving baby the best
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TEETHING PAINS
^^^^EN your baby suffers from teeth-
ing pains, just rub a few drops of Dr.
Hand's Teething Lotion on the sore,
tender, little gums and the pain will
be relieved in one minute.
Dr. Hand's Teething Lotion is the
prescription of a famous baby spe-
cialist, contains no narcotics and has
been used by mothers for over fifty
years. One bottle is usually enough for
one baby for the entire teething period.
Buy Dr. Hand's from your druggist today
Roland Young
seems deter-
mined that this
isn't going to be
the one that got
away, judging
from his expres-
sion.
J
and nobody will be able to tell a thing, if
you're careful and don't use too much.
I thoroughly expect the Editor to get a
flock of indignant letters from indignant
mamas asking what that buttinsky M. M.
means by putting ideas into their children's
heads. I don't mean to run counter to
parental opinion, nor do I mean to put
ideas into anybody's head. But I honestly
feel that a girl, during the trying in-be-
tween years, needs every bit of help she
can get in order to be a happy, normal
individual and if a discreet make-up makes
her look better and feel better, why not
use it? I've certainly tried to stress the
fact in this article that she shouldn't go
too far and paint herself up like a freak.
Did I say that in-between years were
tough on the gals ? Well, they're pretty
tough on mama, too, for she must use the
nicest of judgment and be able to strike
the most desirable balance between keeping
Missy back too much and letting her go
too far. It takes heaps of sympathy, tact,
understanding and love — well. Mamas,
a lot of it's up to you,
I was thinking, in connection with in-
betweens, about some of our younger movie
stars, as contrasted with the older, girls.
Kids like Deanna Durbin and Judy Gar-
land. Their in-between years are so
different from the similar periods of, say,
Norma Shearer and Joan Crawford.
NORMA SHEARER, when she first
went into pictures, had to wear pain-
ful braces on her teeth to straighten them.
When Norma was a little girl, folks didn't
go in for teeth straightening to such an
extent as they do now. Such dental atten-
tion was very expensive and people of
average means just didn't think it essen-
tial, that's all. It isn't dirt cheap even
now, but with a little plotting and planning
it can and should be managed.
And then there are our two famous in-
betweens again, the Misses Garland and
Durbin. Nice gals both, who offscreen
look just like any two attractive, chockful-
of -personality young people you'd find in
high schools or boarding schools all over
the country. A little make-up now and
then, very nice clothes of good material
and excellent cut, but always simple
sweaters and skirts, plain tailored coats,
simple accessories and hats. Remember
that simple things are good for all ages.
You won't look too kiddish in something-
plain. And Deanna and Judy are in bed
most nights by ten-thirty and in the studio
commissary they're seen eating vegetable
plates and lamb chops and liking it and
ice cream once a week, so there.
Do I hear some in-betweens moaning
that, really, they're just so hopeless that
. . . well, all this applesauce I've been
writing is okay with girls who stand any
chance at all. But — "I really haven't a
single redeeming feature — almost everyone
in the world has something, but I haven't
hair, eyes, skin or figure," cries another.
Listen 1 Till she was going on fifteen, one
of our best dramatic actresses — to wit,
Bette Davis — was one of these pale, skinny
kids, with pale blue eyes and pale lashes
and pale hair which just wouldn't fix.
There was no confusion about it — Bette
was just drab looking. But there was a
brain working all the while under that
hair, a dramatic soul in the straight-up-
and-down young body. Today, it isn't
Bette's looks, attractive enough though
they are, which intrigue you. It's her
dramatic intensity, her personality force
which gets you. Use the external aids I've
told you about, you kids who think you're
so uninteresting, but more important,
develop inwardly and in a couple of years,
see if anyone dares call you uninteresting.
I gotta go now. But first — I have a
small present for you. It's an absolutely
free crystal bottle of perfume, and you'll
receive it right away if you'll just fill in
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92
MODERN SCREEN
Nobody's Yes-Girl
(Continued from page 43)
pictures of the year, "Come and Get It"
and "Ebb-Tide," her salary, with bonuses,
still hovers around the four-hundred-dol-
lar-a-week mark. And that doesn't go far
in Hollywood toward keeping up a front.
VERY early in her picture career,
Frances' Hollywood bosses became
alarmed at the unpretentious way in which
she was living. One day Phyllis Laughton,
who was training talented newcomers at
Paramount, called Frances into her private
office, and said to her, "Frances, there's
something Pve got to tell you. It's . . .
it's . . ." Miss Laughton seemed to find it
hard to go on.
"Why are you afraid to tell me?" Fran-
ces asked. "You know I've never minded
when you criticized my work."
"It's not that," Miss Laughton said. "It's
the way you dress on the street. Never
wearing a hat and the horrible slacks and
that faded jacket. You're being groomed
for stardom, and the fans expect stars to
be glamorous-looking when they see them
on the street."
"So that's it," said Frances, smiling.
"You know, Phyllis, you don't give a darn
about the way I dress, so obviously some-
one from the front office has been talking
to you. Who was it?"
Phyllis Laughton looked uncomfortable.
"Phyllis," Frances said, "do something
for me, will you? Go to him and give him
this message from me. Tell him if the
executives at the studio paid as much at-
tention to the parts they give their actresses
as they do to the clothes they wear off the
screen, we'd all make a lot more money."
Not for a moment did Frances stop to
think that , she was being impudent, and
that she might imperil her brand-new
career by being so frank. But if she had
stopped to think of it, it wouldn't have
checked her. For it isn't in the girl to
bow and scrape and "yes" people to death.
There was the time, for instance, when
a very powerful columnist asked her to
appear on his program, so that he could
introduce her to his listeners as the most
promising newcomer of the year. Into the
script he had put some pretty telling lines
against Katharine Hepburn, which Frances
Farmer was expected to deliver.
Now Frances likes and admires Katha-
rine, and she didn't want to deliver those
lines. At rehearsals, she tried to have them
changed, but failed.
When the time came for her to broad-
cast, she didn't know what to do. Never
in her life had she said something she
didn't believe. On the other hand, she
knew that if she antagonized this colum-
nist, she might make a very dangerous
enemy for herself, for his broadcasts were
heard and his newspaper columns were
read throughout the country, and it was
said that he had a million fans.
When she got to the mike, the words she
was really thinking about Hepburn tumbled
from her lips in a flood ; instead of con-
dem.ning her, she praised her. All her life,
Frances has been accustomed to saying
exactly what she thought, and when she
was put to a test, she couldn't do otherwise.
When she played with veterans in
"Come and Get It," in a scenario written
by a man who had had seventeen years'
experience, directed by Howard Hawks,
who had been directing box-office hits
while she was going to college, she never
hesitated to challenge the things these vet-
erans said. At first they wondered at the
gall of this young upstart who dared to
say to the director, "What you suggested
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93
MODERN SCREEN
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94
isn't right. I don't feel it. The line should
be changed."
As they discovered that there was intel-
ligence behind that wide brow of Frances,
the attitude of these men changed gradually
from resentment to respect.
"Did you once say in an interview, 'I
have been a rebel all my life'?" I asked
Frances.
"Hell, no," she answered.
"Didn't you say once that a lot of people
dislike you?"
"Of course not. Even if those things
were true, I wouldn't say them. You, of
all people, oughtn't to believe the things
you read. You're supposed to write them,
not to read and believe them."
Nevertheless, she has been a rebel, ever
since that day in grammar school, when
she penned an essay called "God Dies," in
which she tried to prove that the individual
ought to fight his own battles and not de-
pend upon a beneficent Providence for aid.
Because of the sensational title of her
essay, she was condemned by both stu-
dents and faculty, and considered a danger-
ous firebrand.
IN college, she majored in drama and ap-
peared whenever she could in the shows
given at the Studio Theatre of the Uni-
versity of Washington. Since her parents
had very little money, Frances had to earn
her way through college by working at
such odd jobs as typing, appearing in radio
skits, assisting in a dye factory, acting as
camp counsellor to campfire girls, and
doubling as a waitress and a singer of In-
dian love songs for the guests at a Mt.
Rainier resort.
More than anything else, she wanted to
get stage experience, and she realized that
New York was the center of the theatrical
world. But the money she had earned had
been just enough to see her through col-
lege. How was she going to get there?
Opportunity appeared in a strange guise.
The Voice of Action, a radical newspaper,
offered a trip to Russia to the person get-
ting the most subscriptions for it. Frances
hustled around and persuaded as many
people as she could to subscribe ; not be-
cause she was interested in going to Rus-
sia, but because she wanted to go to New
York.
When she won, her friends in Seattle
were horrified. She was considered a men-
ace by most of the people there, and held
up as a horrible example of the inroads
Communism was making upon our Amer-
ican colleges. But it didn't matter. What
did anything matter, so long as she got
to New York? Now she could bombard
the offices of all the theatrical producers.
That was what she thought. But she
hadn't stopped to realize that it was mid-
summer, and that most producers were
out of town and wouldn't be back till
September or October. In the meanwhile,
on what was she going to live?
A man she had met on the boat going to
Russia introduced her to Shepard Traube,
who knew Oscar Serlin, at that time head
of the talent scout department at Para-
mount. Amazed at finding an inexperienced
actress, who was as beautiful and intelli-
gent as Frances, Serlin suggested that she
take a test.
"At the time I took the test I didn't
take movies seriously," she said. "I didn't
think I had a chance."
When Paramount offered her a contract,
she realized that she would be a fool to
turn it down, since such an opportunity
might never come her way again.
During her first three months in Holly-
wood no one paid any attention to her, and
she was restless. She made an average of
two tests a day with unknown young men,
and told the publicity department, "I pre-
fer my .own company to that of most of
the men in this town. If they want to
pass me by, that's all right with me. I
think all the boys in Hollywood are ter-
rific bores. If I couldn't stand my own
company, I'd be the unhappiest girl in the
world, because I'm alone morning, noon
and night."
If there were nights of desperate lone-
liness and days when even the career on
which she had staked all her happiness
didn't seem sufficient compensation for the
emptiness of her personal life, no one
knew about it. She held that proud head
of hers high, and said that the only thing
in the world she wanted was to become a
fine actress.
Matched with her in some of the tests
she made and at rehearsals in the dramatic
classes was a handsome, tall young actor
named Leif Erikson, who was as ambitious
as she was. After meeting him, it was no
longer possible for her to feel that all the
young men in Hollywood were bores.
WHEN they first began to slip over to
Frances' apartment for additional
rehearsals, it never occurred to her that
anything else motivated them save the
fierce desire both had to get ahead with
their careers. But the other newcomers
noticed that when they were teamed to-
gether in a scene, their work took on new
fire, as though each caught inspiration from
the other.
One day they eloped to Yuma and were
married very quietly.
She and her husband stayed away from
night clubs, gaudy premieres and the usual
Hollywood social gatherings and spent
most of their spare time practising their
roles in the old-fashioned living-room of
their home.
At first Frances was put into distinctly
sappy roles, in pictures like "Too Many
Parents" and "Border Flight," which were
Grade B or worse. Just when Frances was
beginning to feel she'd never get a break,
Howard Hawks saw the test she'd made
and asked if he could borrow her for the
role of Evvie Glasgow in "Come and Get
It."
Had Frances played that role she might
never have gotten anywhere in pictures,
but she prevailed upon Hawks to test her
instead for the dual role of Lotta and
Lotta's daughter. Given a silent test as
Lotta, she registered a vital, unforgettable
personality. Andrea Leeds was then given
the bit role originally planned for Frances.
"Weren't you frightened playing such an
important part after having done just bits
and ingenues?" I asked Frances.
"No," she said. "It was too much of a
relief to get something I could work at.
I found it twice as difficult to do the dumb
ingenue in 'Rhythm on the Range' as to
play the dual role in 'Come And Get It.'
It takes an awful lot to be a good ingenue.
I guess I'm not the type, for it drives me
crazy when I'm supposed to stand around
looking pretty. I feel like such a chump
doing it."
Frances is intensely loyal and when she
heard that a woman who had been very
kind to her had been fired from her job at
the studio because of politics, she went
straight to the executives and said, "I think
that's a very dirty trick you've just pulled."
But when I asked her about it, she said,
"I'd rather you didn't use the incident. She
has a job with another company now, and
the story couldn't possibly do her any
good."
The idea that the story might do Frances
Farmer some good, that it might help to
clear up some of the fog of misunder-
standing that has been built round her per-
sonality, never seemed to occur to her.
That simplicity of hers — the old clothes,
the second-hand car, going around hatless,
all that — is not an act. Frances Farmer
can't pretend about anything.
MODERN SCREEN
Wanna Wedding Ring
(Continued from page 45)
nailed. . Or she has, if she'll have him.
For Robert has no time for anybody else,
and there have been plenty of beautiful
women who have tried to capture not only
his heart, but a wee mite of his attention.
Strong odds are that Bob will marry Bar-
bara which will automatically remove him
from the eligibility list.
Tyrone Power. The newest skyrocket in
the Hollywood horizon. Here is a catch,
make no mistake. In addition to his movie
salary, he has a radio contract for this
year which will bring him thousands of
dollars a week. Thoroughly charming, at-
tractive, desirable, as beau or husband. He
has had one of the most rapid rises to
fame on record. A year ago last Decem-
ber, when "Lloyds of London" was pre-
miered, marked his start.
However, Janet Gaynor seems to have
"dibs" on Mr. Power now. After keeping
the press — not to mention Sonja Henie —
at fever heat for so long, Tyrone had no
qualms about stepping out with Janet the
minute Sonja took of¥ for Europe, several
months ago. And so Janet became No. 1
girl. Is Tyrone Power an eligible or does
he class as out of circulation, is the ques-
tion that's worrying more than one Holly-
wood belle.
Ho, hum. In Hollywood, as in Jones
Center, New Orleans, Paris or London,
eligibility is often reckoned upon the
basis of what a young man has accom-
plished, how much money he has already or
can potentially earn. Girls who want
wedding rings don't pay as much attention
sometimes to the struggling young punks
as they do to the boys who have received
the breaks.
Take the case of Jon Hall. This gent,
about whose brawny chest the publicity
laddies have been raving, ever since he was
cast in "Hurricane," automatically blos-
somed as a romantic as soon as the ink
on his contract was dry. His name has
been linked with Andrea Leeds. Publicity,
you say? Perhaps.
Wayne Morris, six foot two, blond,
blue-eyed giant, introduced to fans in "Kid
Galahad," has been around Hollywood most
of his life. He graduated from Los An-
geles High School, started his acting at
Pasadena Community Theatre, his movie
career and his romantic career simultane-
ously (by beauing alternately Lana Turner
and Linda Perry) at Warners. Better work
quickly, girls. He's a first-rate eligible.
Here are a few more "in circulation"
names to conjure with. Cary Grant. Since
divorcing Virginia Cherrill, his name has
been linked with many women. Things
looked almost serious once with Mary
Brian. Of late he spends all of his time
with Phyllis Brooks, that blonde beauty.
Johnny Downs. Alternately beaus and
squabbles with Eleanore Whitney. In his
early twenties, has started to collect an-
nuities already and will undoubtedly be a
good husband for some girl.
Ronald Colman. If anybody can hook
him. Best bet to date is Benita Hume.
However, Mr. Colman is a wary feller who
likes his pipe, his books, his tennis and his
European travels minus female accompani-
ment.
Michael Whalen. Irish, good-looking,
likes fun, parties, girls, is on his way up.
John Howard. Young, sensitive, ideal-
istic, an actor to his finger tips, ambitious
to become a great artist. Good to his
parents. Won Phi Beta Kappa key at
college. Doesn't go to many parties.
Recently slashed from bachelor ranks
and removed from eligibility classifica-
tion : Gene Raymond. Withstood the
blandishments and flattery of literally
thousands of women before he fell and
went to the altar in one of Hollywood's
biggest matrimonial splashes — speaking in
publicity terms.
Yeah, I suppose you know, Jeanette
MacDonald was the girl who drew the
lucky number.
Tony Martin. Eloped with Alice Faye
after a stormy period of courtship during
which it looked as if the two would never
get together on account of racial and re-
ligious differences.
John Howard Payne. Captured practi-
cally before he had his feet firmly on the
ground in Hollywood, by demure, seven-
teen-year-old Anne Shirley.
Randolph Scott. Long-time bachelor
crony of Cary Grant. Wed to a Dupont
of the Wilmington, Delaware, Duponts,
who specialize in Society, Wealth and
Horses.
Fred MacMurray. The actor who was
true to his former sweetheart, his love of
the days when he was just an orchestra
player, beautiful Lillian Lamont and who
was repeatedly urged by his studio to delay
his marriage lest it interfere with his
amateur standing as a romantic.
There's Henry Fonda, who married
Frances Brokaw, a New York blue blood.
But then we could go on and on enumer-
ating the married gents. There are just
too many of them to make it any fun for
the gals who wanna wedding ring.
For my part, I am looking forward to
the day when Mickey Rooney grows up a
little more. I am going to grab him early
— that is if Judy Garland doesn't steal my
thunder. Oh, well, there are still the
Mauch twins.
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MARWEO TEN
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95
MODERN SCREEN
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Mystery Woman No. 1
{Continued from page 35)
Yet I happen to know a story that
Hollywood doesn't know — that paints a
completely different picture.
There is a script girl named Gertrude
Wellman, better known as Trudy. She is
a glowing girl who, with different training,
might have landed in front of the cameras,
instead of behind them. She worked with
Hepburn on "A Woman Rebels."
As the picture progressed, Katie noticed
that Trudy began to look haggard and
drawn. Finally, one day, she said, "You
look awfully dragged out. What's the
matter?"
Trudy confessed that she had been ill
for weeks. "I've been going to a doctor,
and he says that I need an operation, but
I'm afraid. Besides, I can't make up my
mind that I need one."
"If you feel uncertain about this doctor's
advice, would you go to mine, and see
what he says?"
Trudy went. Katharine's doctor con-
firmed the original diagnosis. But that
didn't make Trudy any less frightened of
an operation. She told Katharine so.
Katie talked with her, selling her the idea
of the operation.
"You're probably worried about the cost,
as much as anything else," she said. "But
don't think of the cost. You can't afford
not to go through with it."
Trudy went to the hospital, asking for
the lowest-priced room. She was amazed
at the size and cheerfulness of the room
she was given. Katharine sent her flowers,
called on her. Finally, Trudy was well
enough to leave. She asked for her bill.
There was none. No one would tell her
who had paid it. But Trudy knew — even
though Katharine has never admitted it.
Pennywise Hepburn can also be generous.
Hollywood coddles its stars, but Katie
refuses to be coddled. She has courage
of an uncommon kind. She is the only
feminine star who has never had a double,
no matter how difficult a stunt the char-
acter she was playing had to perform.
There still is a great deal of the tomboy
in her. Any physically difficult feat is like
a dare to her. She doesn't want to miss
the fun of trying to do it.
In "Sylvia Scarlett," for example, it
was Katharine, not a double, who swam
through a turbulent sea to the rescue of
Natalie Paley Everybody else called it
foolhardy courage.
It was Katharine, not a double, who
hung by her fingertips to a high window-
ledge for another movie scene ; Katharine,
herself, who fought the tempestuous mock
duel with Douglass Montgomery in "Little
Women;" Katharine, who ran down a
forty-foot flight of stone steps in high
heels and a gown weighing fifteen pounds,
in "Mary of Scotland;" Katharine, never
in a side-saddle before in her life, who
rode the spirited horse in the same picture.
WHEN she first arrived in Hollywood,
Hepburn realized that she had to do
something to attract attention. In a town
where glamor girls drove swanky cars,
she drove a station wagon. In a town
where the height of informal attire was
slacks, she wore overalls. In a town
where poise was considered all-important,
she sat on studio curbstones reading her
mail. She exhibited a fiery independence
new to Hollywood. She got attention.
But, having got attention, she didn't
know what to do with it. She didn't know
how to cope with it. She fled from it.
She ran away from news cameramen, re-
porters, even admirers.
On her stage tour, she broke down and
talked to reporters. But back in Holly-
wood, to co-star in "Stage Door" with
Ginger Rogers, she gave no interviews.
Her independence of the Hollywood
Press was no act in the beginning. She
was not "trying to pull a Garbo," as the
Press intimated. She was expressing a
bitter resentment.
After her overnight success in "A Bill
of Divorcement," she gave interviews. She
was thrilled at being asked to give them.
But one of her first interviewers happened
to be a sob-sister, looking for sultry
details of the Hepburn private life. The
impertinence of her questions amused
Katharine, new to Hollywood's prying
curiosity. She answered the questions
facetiously.
The sob-sister published, as sober
facts, Katharine's facetious statements
about her private life and past. "This is
the finish," Katharine said, when she read
the story. "If the interviewers aren't any
brighter than that, why bother with them?"
Katharine is impatient with stupidity.
Yet she has patience with newcomers who
don't know what screen acting is all about.
She hasn't outlived her memories of how
she, herself, was helped.
Yet she can be unreasonable about being
helped today. For example, the studio
came to her for her signature on a pub-
licity stunt that would have spread her
name on posters throughout America.
For some reason she refused. Yet, the
next day, on her own, she took time to
autograph a picture for a crippled child.
She lives alone, except for servants.
She golfs alone, swims alone, rides horse-
back alone, goes for long walks alone.
The ordinary person would suspect her of
loneliness — if it weren't for the cocky
perk of her chin, a characteristic of the
self-sufficient. She looks confident of
getting along by herself.
You would never expect such a girl to
have a horror of being alone. Or, if she
did, you would expect her to have too
much pride to reveal it openly, publicly.
You would expect her to mask her emo-
tions, play the game to the end — if only
in self-defense.
Yet she is incapable of putting on that
particular mask.
She never appears in public alone, if
she can help it. Alone, in public, she feels
defenseless, helpless. Even on a walk
across her own studio lot, she always has
someone with her. Her stand-in, perhaps,
or a studio maid, or a wardrobe woman.
But someone. Always.
And even in the studio commissary, she
will not eat alone. Along with two other
women on the lot — Ginger Rogers and
Jane Loring, production assistant — she has
the privilege of sitting at the table around
which the producers and directors gather.
Katharine, unlike the other two, never sits
anywhere else. Time after time, I have
seen her step into the commissary, and
glance quickly at the big corner table. If
no one is there, she turns around and goes
out, and doesn't return until someone is
at the table. In private, she is self-
sufficient. But, in public, she isn't.
To have a driving urge toward self-
expression, a person needs great ego.
Katharine has her share. She believes in
herself and her abilities. She is more
wrapped up in her acting, probably, than
any other actress in Hollywood. .Also, she
is more high-strung, more short-tempered
MODERJN SCREEN
than any other actress in Hollywood. Yet
she has no Narcissus complex, no complex
about having all eyes focus on her.
Other famous women stars have been
known to "kill off" promising leading men,
by submerging them to their own person-
alities. Hepburn has had only one mascu-
line co-star in her entire screen career.
But go down the list of Hepburn leading
men — Douglass Montgomery, John Beal,
Douglas Fairbanks, Jr., Charles Boyer,
Fred MacMurray are a few of them — and
you will discover that every one of them
has gone forward, not backward, after
appearing with her. For all her tempera-
ment, she gives the other fellow a break.
That isn't like a glamor queen.
And, for all her ego, she abominates
flattery. It is useless to try to coax her
to do anything — to tell her, for instance,
that if she does a scene thus and so, she
will look beautiful. But try explaining
that if she plays the scene thus and so, she
will get an effect that she won't get other-
wise, and you may have results.
Because of her fiery independence (which
isn't all an act), because of her insistence
on thinking for herself, she is not easy to
get along with. At the same time, how-
ever, she has a sense of humor.
THE other day, on the set, she was hav-
ing a verbal Ijattle with her cameraman.
He wanted her to do a scene a certain way,
and Katharine, who knows something
about camera angles herself, was putting
up an argument. This went on for five
minutes, their voices becoming louder and
angrier every moment.
Suddenly, in the middle of a sentence,
Katharine paused, laughed, and said, "Of
course, you know you've been right all
along."
"My God, Kate," he said, bewilderedly,
"then what have you been going on like
this for?"
"Argument is good for the soul," she
retorted, "and, besides, I wanted to be
sure that you were convinced, yourself."
How are you going to make out a girl
like that?
She gives the impression of being a
person who wants her way. Yet she also
gives the impression of being a person
who wants people to argue with her, if
they don't agree with her. Another
baffling contradiction !
Like a few other stars, she bars all
visitors from her sets. Yet she erects
no screens around the camera and herself
for even the most intimate love scenes.
She doesn't object to five hundred extras
watching her. She doesn't hide away
between scenes. She never goes to her
dressing-room except for changes of cos-
tume. Her dressing-table is on the side
of the set, in plain view of everyone.
She seems to have a passion for privacy ;
she doesn't want people around. Yet, once
the sound-stage doors are locked, she is at
ease, no matter how many people are on
the set.
Still another mystifying Hepburn con-
tradiction !
In Hollywood, success usually depends,
to a large extent, upon how well you play
your politics. Katharine is a sophisticate ;
she knows that. Yet she is persistently
blunt and brusque. Despite the veneer of
Bryn Mawr, New York and Hollywood,
she still is New England through and
through.
She is proud, yet she has little pride of
personal appearance, except with her hair.
She takes great care of that.
On the screen, she doesn't object to un-
flattering clothes. Of¥-screen, she usually
goes around in slouchy slacks. Yet every
designer who has worked with her says
that she has the shrewdest clothes sense of
any woman he has ever encountered. She
darken y*""' "
ha"
blonde ^o-^:"";^-^,o\aen,aWays
■has stolen- ^met\eveTY'
Harm
^ sali at aU ^^^^
97
MODERN .SCREEN
ONE LAST GLANCE^^yti^
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I . . says beautiful
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, Paramount Player
Hollywood stars insist on the best of care for their
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98
has an instinct for "the right touches."
She could be one of the best-dressed
women in the world, if she wanted to be.
But she doesn't want to be. Apparently,
she doesn't even care about a reputation
for being well-dressed. No woman in
Hollywood can explain that. Can you?
She rates as the queen of her studio,
yet her dressing-room is the smallest and
plainest of any on the lot. It is in the
rear of the stars' building, not the front.
Recently, the studio decided that the dress-
ing-rooms needed refurbishing, and offered
to make any changes that the stars de-
sired. Ginger Rogers, Ann Sothern,
Barbara Stanwyck, Anne Shirley, all were
thrilled at the chance to get new drapes
and new furniture of their own choice.
But not Hepburn. She left the redecora-
tion entirely to the studio.
It's the same with the house she rents.
For all her vivid personality, she doesn't
strive for vivid settings for it. Her ego
doesn't run in that direction. She is
almost masculine in her indifference to
her surroundings. Yet, at home, she is her
most feminine self. There she wears
satin negligees.
She is intensely interested in music, yet
plays no instrument well. She travels
only by plane, yet owns no plane and
flies none. She is an outdoor girl who
shoots man's golf (her score is in the
80's), rides, swims, walks — yet her only
collection hobby is fine-blown glass figures.
She has about four hundred of them.
She is provocative and unpredictable,
this Katharine Hepburn — a mystifying
collection of contradictions. She is Holly-
wood's most baffling question mark. Some-
times she must even mystify herself.
Cream ol the Crop
(Continued from page 50)
approval as well as his talent puts Wayne
among the cream of the crop.
Some folks don't believe in miracles, but
Mr. R. H. Cochrane, President of Uni-
versal, did, once he met Deanna Durbin,
Canada's young canarj'.
Deanna at the ripe old age of fourteen
was in Hollywood, unknown to movie-
goers, even though people tuned in on the
radio to thrill to her lovely voice. The
movie moguls had heard about this young
Miss, but thought her too young to con-
sider seriously. After all, it is difficult to
cast a fourteen-year-old girl.
There was one person who believed in
Deanna however, and he succeeded in get-
ting Mr. Cochrane to listen to her sing.
"I decided to hear Deanna as a favor
to this friend," said Mr. Cochrane. "We
went into a rehearsal hall. What I saw
was a little disheartening, for in this dis-
mal room with a few chairs scattered
around and a piano at one end stood a
frightened little girl. She looked anything
but movie material. Then Deanna began
to sing. I forgot my surroundings. In
fact, I forgot everything except that lovely
voice. Needless to say, when she finished,
we adjourned to my office and then and
there signed her contract without so much
as a make-up test."
It needed only her first rushes to show
the studio that they had another star on
their hands and, with the release of "Three
Smart Girls," the fan mail began to pour
in. That picture started her and "100 Men
and a Girl" cinched the deal.
And so we present the cream of the
crop, the successes of 1937, and predict
that they will be big stars before 1938 ends.
What do you think about it?
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Muscular lumbago, soreness and stiffness
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Even better results than the old-fashioned
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ElEANOR FISHER. ..Paramoo/itP/s/er
A
STARLET
Here is Eleanor Fisher, charming beauty contest 'winner, who
came to Hollywood to play in Paramoimt's ne'w picture "True
Confession!' Among many interesting things Eleanor discov*
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MODERN SCREEN
Glenn Morris and beauteous Eleanor Holm, the newest Tarzan
team, take time out for a little relaxation from work on their
picture, "Tarzan's Revenge."
Reviews
(Continued from page 12)
-ki^ Boots and Saddles
When a Hollywood preview audience ap-
plauds a horse opera, it's news. Gene
Autry, however, rates the handclapping
accorded him at the preview of his latest
thriller, for "Boots and Saddles" is a fast-
moving epic of the open spaces with a
story that gets away from the run-of-the-
hills stuff usually associated with west-
erns.
The crooning outdoor hero is foreman
of a ranch inherited by a twelve-year-old
young man from England. The young
Britoa is, of course, arrogant and high-
handed, but a few weeks, with good old
Gene and the gang changes him over com-
pletely. In order to save the ranch from
a dastardly villain, Gene must sell a herd
of horses to the commandant of a nearby
army outpost. The commandant also has
a comely daughter, so you know what
happens. During the course of events
there is enough hard riding, clean living
and straight shooting to warm up even
the most sophisticated of movie-goers.
Gene Autry spends a good deal of his
time engaged in singing, but he throws
aside his trusty guitar long enough to save
the ranch and win the beautiful gal, com-
petently played by Judith Allen. Ra Hould
is the young Britisher and Gordon Elliott
goes to a villain's end with a proper sneer
on his smirking pan. Smiley Burnette,
who appears in all the Autry dramas, gets
laughs with his broad comedy. Directed
by Joseph Kane. — Republic.
"i^T"^ Submarine D-l
Having exhausted all other branches of
U. S. military service, Warners now ex-
amine the men who go down in the sea in
submarines. As propaganda for the subma-
rine service, the picture is a distinct failure
— the submarine in the title does nothing
but get into trouble — but as screen enter-
tainment it has its moments of excitement
and interest.
Plot is the customary one — two men in
love with a girl. Pat O'Brien's rival is
Wayne iVIorris, a personable young gent
whose performance will gratify those
who predicted a future for him after "Kid
Galahad." George Brent is also involved
in the proceedings, but he's not in on the
romantic goings-on, for he's a stern sub-
marine captain who has no time for such
frivolity. Of course, everyone knows who
eventually wins the girl and who (Pat
O'Brien) wishes them all the luck in the
world. The girl, incidentally, is Doris
Weston. Directed by Lloyd Bacon. —
Warner Bros.
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99
MODERN SCREEN
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From
Painful Backache
Caused by Tired Kidneys
Many of those gnawing, nagging, painful backaches
people blame on colds or strains are often caused by
tired kidneys — and may be relieved when treated
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The kidneys are Nature's chief way of taking ex-
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If the 15 miles of kidney tubes and filters don't
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100
Navy Blue and Gold
The embattled and much-photographed
grounds of the United States Naval Acad-
emy once more act as a backdrop for a
drama in which the traditional cocky young
plebe gradually loses his individuality and
emerges, stamped, sealed and delivered as
standard product of the institution, while
bands play and thousands cheer. In this
case the young man is Robert Young, and
he reminds one of the golden — or "Anch-
ors Aweigh" — era of the screen, when Dick
Powell used to win the Admiral's daugh-
ter.
The film brings several additional char-
acters to the usual story. There is Tom
Brown, a young socialite from New York,
and Jimmy Stewart, an ordinary seaman,
who has come to the Academy to clear
the name of his father, who had been dis-
honorably discharged from the Navy.
While Mr. Brown and Mr. Stewart are
there for the glory of it all, Mr. Young,
the more practical member of the trio, has
come to the Academy to play football and
to meet an heiress who'll be impressed by
his uniform. While Robert Young main-
tains his incorrigible mood, the picture is
lively and a bit off the beaten track, but
toward the end, along about the time
Lionel Barrymore says to him, "My boy,
you're Navy !" everything returns to fa-
miliar ground. Directed by Sam Wood. —
M-G-M.
Second Honeynnoon
Tyrone Power and Loretta Young,
who achieved matrimony in "Cafe Metro-
pole," continue their romancing in this
first-rate bit of light comedy. Something
evidently happened to the idyllic bliss
promised them in "Cafe Metropole," for
when "Second Honeymoon" opens, we
find they've been divorced and Miss Y.
has already signed up with a new hus-
band (Lyle Talbot). Number Two is a
hardheaded business man, who probably
wouldn't have taken his wife to Miami for
a vacation if he'd known Number One
would be lurking about. At any rate, Miss
Young and Mr. Power meet again and dis-
cover they're still in love. After a series
of sometimes hilarious events, the two of
them hop off on a second honeymoon, an
incident which must have puzzled Lyle
Talbot — not to mention Mr. Hays — since
the young lady in question was still his
wife.
The two principals prove themselves an
engaging romantic team, both of them
playing their roles with charm and humor.
Stuart Erwin furnishes excellent comedy
as Power's valet, and here are fine per-
formances by J. Edward Bromberg and
Claire Trevor. A newcomer, Marjorie
Weaver, is a surprise hit. Playing a
bright-eyed but naive young acquaintance
of Power's, she romps away with several
of the picture's best scenes. Directed by
Walter Lang. — 20th Century-Fox.
'^"^The Last Gangs+er
"The Last Gangster" is exactly what the
title implies. Although a foreword states
that all characters are fictitious, it is plain-
ly evident that the title role has been pat-
terned after the career of Al Capone. It
follows the life of that once-eminent citi-
zen so closely, in fact, that Edward G.
Robinson, who plays the central character,
is transported off to Alcatraz for the same
offense — income tax evasion — that sent
Capone there.
The Robinson portrayal will remind au-
diences of his "Little Caesar" of a few
seasons ago. His role is that of a gang
chieftain with a Napoleon complex. He
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15
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MODERN SCREEN
marries a strapping foreign girl for tlie
sole purpose of providing himself with a
son and satisfying his ego. When he is
carted of? to Alcatraz his wife divorces
him and marries a newspaper man who has
befriended her. Robinson spends ten years
behind bars plotting revenge, and when
freedom comes he sets out to find his fam-
ily. Climax of the picture contains its
most exciting moments.
"The Last Gangster" is not up to the
standard of the old Robinson mobster
films, but it has much to recommend it.
Robinson, of course, plays with his cus-
tomary skill. A newcomer, Rose Strad-
ner, lends vitality to the role of the wife,
and there are good performances by John
Carradine, as a vengeful prison inmate,
and Lionel Stander, as Robinson's aide.
Jimmy Stewart, as the newspaper man,
does what he can with a weak assignment.
Directed by Edward Ludwig. — M-G-M.
'k Blossoms on Broadway
The blossoms implied in the title fail to
bloom in the picture's unreeling, and what
emerges is a dull and uninspired screen
musical, the good moments of which are
all too rare.
Story has Shirley Ross, with the help
of Edward Arnold, impersonating a mys-
terious "Death Valley Cora" in a scheme
to relieve a gold-hoarding millionaire of
some of his capital. "Cora" is supposedly
the owner of a gold mine, but Miss Ross'
interpretation of the gal from the plains,
unfortunately, is not the comedy riot of
the season. Nor is Edward Arnold com-
pletely convincing as a big-time crook.
Miss Ross, however, partly redeems her-
self by singing several songs pleasingly,
the best one being the title number. Di-
rected by Richard Wallace. — Parainount.
Manhattan Movie-Go-Round
(Continued from page 6)
dith on his fine performance in "The Star
Wagon."
Meredith is, perhaps, the most startling
young thespian of the day. He has the
Midas touch when it comes to picking
plays. He claims Luck plays a big part,
that a fellow can't go wrong if he chooses
Maxwell Anderson's works in which to
appear. He loves the theater, does Bur-
gess. He likes the movies. There is a
difference in affection there that the words
convey.
"If you're on the stage, you've got to be
in the best," he avers. "If you're in a
mediocre picture, somehow it doesn't seem
to matter so much.
"Somehow, it's not that way on the
stage. Gosh, I was in four flops. None
of them lasted two weeks, but you'd be
surprised to know how many people saw
me in them."
Meredith's latest movie is "There Goe>
the Groom." Ann Sothern was the lad\-
in the case, and for Annie, Burgess has
nothing but praise. "She showed me the
picture ropes," he said gratefully. "And
there's plenty of angles to learn about the
business. Gosh, when I'd see the rushes
after the day's work, I'd say, 'Never let
me see that face again ! Surely, I don't
look like that!' But I did. So I gave up
rceing the rushes and was a whole lot
lappier. But you can't discourage me!
I'm going right back to make another!"
And who, we ask, would want to dis-
courage so fine an actor as Burgess Mere-
dith, or such excellent entertainers as
Tyrone Power, Alice Faye and Janet Gay-
nor? Certainly not us — nor you.
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Danielle Dar-
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101
MODERN SCREEN
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Talking Things Over
(Continued from page 17)
De Mille picture; well, then he just doesn't
know his trade, which, in the final analysis,
is what acting amounts to."
This seemed as good a chance as any to
get a puzzling question answered. "Why,"
we asked, "do many stars play themselves
in almost any role in which they're cast?"
Freddie March, who is the soul of tact,
considered for a moment, and then went
decidedly courageous, throwing discretion
if not careers, to the wind.
"They are often not," he said ^ de-
liberately, "encouraged to do otherwise."
There's choosing your words !
"Of course, there's a reason for it, too,"
he amended. "Some producers claim that
the public wants to see Joe Dokes playmg
Joe Dokes whether he's doing it m an
eighteenth century costume drama or a
twentieth century drawing-room comedy.
Personally, I don't believe it. I think the
movies have educated the public to ap-
preciate acting. You can't fool people any
more. They've become critical and dis-
criminating.
"I learned about audiences a long time
ago when I played in stock. Each week
I played a different bill. Each week I
tried to land an entirely different role and
play it to the hilt. One week it was a
romantic lead, the next a comedy part, the
next a character man.
"At first the audience seemed to slightly
resent this, but only slightly. That gave
me the needed courage. I thought if I
could get them coming back by the 'sur-
prise method', I'd really build up a fol-
lowing. They'd wonder what I was going
to do next time and their curiosity would
intrigue them into finding out. Yes, I was
right. They did come back and they did
seem to enjoy it."
March isn't interested in close-ups or
prizes for best acting or luxurious living
or most of the things many movie stars
seem to live for. He has a comfortable
home, not an estate, two adopted children
and a talented wife. He met Florence
Eldridge when they were both playing in
Elitch's Gardens in Denver. They car-
ried their make-believe romancing right off-
stage to the preacher's and have been liv-
ing happily ever since. They are doing a
play on Broadway together this winter. _
"Florence is getting a kick out of it,"
explained her husband, "because her con-
science is clear. By that I mean that she
is working in the evening when the chil-
dren are asleep and so not stealing any
time from them. She wouldn't do pictures
because she'd have to be gone all day and
wouldn't know who cheated on the spinach
or who skipped off without wearing her
rubbers. She's certainly as good a mother
as she is an actress and that, in the ver-
nacular of the theatre, is the tops!"
Looks like Mr. March approves of Mrs.
March — eh, wot?
Eddie Rids Mr. Horton
{Continued from page 10)
guffaws from the crew. With every re-
hearsal, with every take, he adds some-
thing new, some rib-tickling twist, some
spontaneous bit of embroidery for which
his co-workers are always on the watch.
They rarely go unrewarded. This time
the howls were particularly long and loud.
Horton looked helpless for a moment, then
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102
MODERN SCREEN
responded with that modest smirk you
know so well, lids drooped, lips coyly hush-
ing his pleasure. "I thought I was rather
juvenile in that," he admitted. Then,^ at a
whispered remark of Lynn Overman's, he
dropped out of character and really smiled.
It banished from his features every trace
of solemnity, it took fifteen years from his
age, it was like the transformation of
Sunny Jim after he ate whatever it was he
did eat.
WHILE they were on location at
Arrowhead the papers reported that
Horton, Esther Dale and Lucien Littlefield
had gone over a forty-foot cliff in a car
and been gravely injured. They weren't in-
jured, they didn't go over a clif¥, they
weren't anywhere near a car on the night
in question. Horton's explanation of the
rumored accident is worth hearing, never-
theless.
"I'd invited Miss Dale and Mr. Little-
field to have dinner with me down in the
valley, where there's a very nice restaurant.
Well, the company knew about it because
we'd been lording it over them all day,
'ya-a-h, ya-a-h, we're going down to the
valley,' 'n' that kind of glittering badinage,
because things were a little dull and chil-
dren must play. Came the dusk and some-
body said: 'You're not going down to-
night, are you?' 'We'd been thinking of
it,' said I. "Well, don't. There's a heavy
fog coming up and it's going to be danger-
ous.'
"Now, however much I may look like a
bold and dashing hero of adventure, ap-
pearances lie. Miss Dale, Mr. Littlefield
and I dined together snugly on top of the
mountain.
"Later we sat listening to the radio.
Two girls, guests at the hotel, were listen-
ing too. Suddenly this report came in.
The girls stared at me as if I'd been the
ghost of Hamlet's father. 'But you're Mr.
Horton, aren't you?' 'I am, and this is
Miss Dale and this is Mr. Littlefield, how
d'you do, how d'you do?' 'But then who
went over the mountain?' 'Someone's
imagination, probably,' I told them. Well,
as it happened, there had been a trifling
accident, nobody hurt. And somebody,
hearing of it and knowing we had in-
tended going down to dinner, logically
concluded ; 'Who could it be but Eddie
Horton, the goof ?'
PERSONALLY, I'm glad it wasn't
Eddie Horton. Been rather a pity at
this stage of the game. Oh, yes, this is a
crucial moment in my life. Didn't you
know? My house is about to be finished.
Only a year or two to go."
Horton's lovely home is the pride of
his heart, and justifiably so. But he
humbles his pride by mocking at it. He
calls the place "Beheigh Acres," and di-
rects visitors to "turn at the knoll and
allow twenty minutes to laugh." To the
architect's eye it's probably a monstrosity.
"To mine it's been a jewel from the start,"
he declared. "I began it in a spirit of
Christian modesty but picked up this regal
complex along the way.
"Now we have twenty-two rooms. Don't
ask me what they're for. We seem to be
sitting around in them all the time. And
then we have flocks of relatives whom we
like to have come and stay. Oh, I mean
that. We really do like it. And with
twenty-two rooms, we' can get away to
another part of the house and talk about
them in peace, and they can sit and talk
about us in peace, and then we all meet
happily again in the morning.
"There's one building I keep away from,
and that's the barn. Not that I'm allergic
to barns, you understand, but all the figures
have been written down in a large book,
and the book's in the barn, and I work on
the theory that what I don't know won't
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103
MODERN SCREEN
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104
bother me. I also comfort myself with the
thought that if I'd put the money into a
lot of stocks and bonds, there wouldn't even
be room for them in the barn. When I
put it into trees, at least I can see them.
I need six more oaks right now, as a mat-
ter of fact. That'll be — let's see," finger-
tips joined, lips pursed, eyes aloft, he made
mental calculations, "just about two and a
half pictures. That's why I have to work
so hard," he confided. "I have these trees
to support.
"Not to mention a large four-footed
family. Six dogs who wake me at four in
the morning, baying at the moon. You'll
find me at the window regularly, hurling
epithets which I assure you don't go with
the landscape. Two henna cats named
Null and Void for obvious reasons, who
are very nice to me till my mother comes
along. Then they turn tail and leave me
flat, also rather irritated and abused. Five
cows, so the cats can have cream, and the
family what's left. Four horses. If I bring
sugar, they'll follow me down to the fence.
If I don't bring sugar, they won't even
bother to say hello. I'm just the guy that
works around there.
ONE is a real Percheron plowhorse,
mother of a colt named Shangri-la, be-
cause he was born during the making of
'Lost Horizon.' The colt's aunt died sud-
denly, and to replace her, my brother bought
a lovely little henna pony that this farmer
thought he had to get rid of. My brother
came home and told us how the farmer's
little boy and girl had stayed up all that
last night with the pony, kissing him good-
by, and the pony kissed them goodby. He
actually did, just like Black Beauty. My
impulse was to send him straight back to
the kids, but I knew the farmer would
promptly sell him elsewhere. So I com-
promised by inviting them to^ come over
and visit whenever they felt like it. Not
that I'm posing as any "fairy godfather,"_he
frowned, fearful lest he convey the notion
that he's tender-hearted. "It was just as
a favor to the pony and us. It keeps him
happy, and we have the pleasure of fre-
quent visits from a nice little boy and girl.
"Otherwise, I'm the only child on the
place. And I'm a handful. At any rate,
so they tell me, and I'm the docile kind
who believes what he's told. I'm also the
kind who craves advice for the purpose
of not taking it. Fortunately or not, I
have two practical brothers. When I find
a pair of lovely Adam fireplaces, I beam
and say: 'How about it?' 'Sure,' they
say, 'that's fine. Now how about a few
gold doorknobs and a diamond-studded
wall or two?' 'Well, I think that would
be carrying things a little too far,' I tell
them. 'We'll just take the fireplace.' "
I asked him whether he ever yearned to
play something other than what he calls a
goof. He threw me a suspicious glance.
"Do you mean 'Hamlet,' or 'Romeo?'
They're out. My legs tangle in tights."
Then, for the first time, he talked,
straight. "No, I like these parts. And
I love this business. And I want to be
part of it as long as I can. My place is
as a supporting player, not a star. I'm
not the kind of personality people glory in
seeing. I lack what is now known as
glamor, what used to be called 'S. A.' and
before that 'It,' and what by any other
name would smell as sweet. I don't break
my heart over what I haven't got, but
thank God and the public for what I have.
My ultimate ambition is to play comedy
grandfathers. I may realize^ it or not, but
so long as people are satisfied to see me
caper, I'll caper. When they turn thumbs
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MODERN SCREEN
Hoo-Raye!
{Continued from page 11)
threw my arms around him. I didn't sit
at his table because he had a young woman
with him, and I was afraid she might not
like it. Do you suppose that is what made
him angry ?
"The only other time I've seen him
since then was at the Hollywood Restau-
rant in New York. That time I left my
own table and went over to his. I said
"hello" to him, and though he had panned
me in his column I tried to talk only of
pleasant things. He was very cold and
practically ignored me, so I had to excuse
myself and go away.
"I certainly won't go down on my hands
and knees to him. If he won't accept my
friendship and my honest desire to find
out what's wrong, then that's the end of it."
After seventeen years of struggle,
Martha Raye has accomplished everything
she ever hoped for. After years of hard-
ship, going without food and wearing
cheap clothes, she can, at last, have any-
thing she wants. The furs, the fine clothes
she dreamed about, the home she longed
for when she sat in cold boarding houses.
But now that she can have everything she
wants, the world criticizes her for taking
it.
"Why don't you save your money?" the
columnists scream at her. "Why are you
buying all these things? Don't you know
that you're just a vogue, that you can't
last forever?"
"I know that I can't last forever,"
Martha Raye said to me. "But I also know
that you can't take it with you when you
die. Did you see the play, 'You Can't Take
It With You' ? Remember the old man who
puts living pleasantly ahead of trying to
accumulate a fortune? Well, he has the
right idea.
"They say that I'm not saving my money.
That's not true. I've put money away in
annuities and government bonds. But it
is true that I am not denying my mother
or myself a thing.
"Why should I? When I was poor I
bought five-dollar dresses in New York's
cheapest shops. I used to think that if I
could buy a dress in the swanky Fifth
Avenue shops, I would go crazy with joy.
Now that I can afford to go to those
shops, that's just what I'm doing.
"If I saved my money, they'd say I was
a miser. And since people will criticize
you, anyway, I'd rather be criticized and
have nice things than be criticized and
have nothing."
Reports of Martha Raye's spending or-
gies have been exaggerated. Actually, she
has one fur coat, a silver fox cape and a red
fox cape. The day after she signed her con-
tract she bought a white fox cape. When
her mother admired it, she presented it to
her. Shortly thereafter, her mother sur-
prised Martha with the silver fox cape !
All her life Martha Raye had dreamed
of having a town car and chauffeur. When
she became successful, she bought herself
a beautiful white car and hired a chauffeur.
Now, it so happens that Sonja Henie also
has a white car. In her case, it has been
lauded as clever showmanship, but Martha
Raye has been condemned.
"Newspapers asked, sneeringly, if I were
doing a Garbo when I closed the 'Moun-
tain Music' set to reporters one day. Well,
I wasn't pulling a Garbo. While doing a
very difficult adagio dance, I had sprained
some ligaments in my arm. I went on
working with a bandaged arm, but I hoped
to keep the story out of the papers, because
it might sound like a bid for sympathy.
"You see, I feel it's my job to entertain
people. While they were watching me_ in
'Mountain Music,' I wanted them to enjoy
themselves. I didn't want them to feel
sorry for me. The set remained closed
only one day, and was then opened again
to reporters as usual."
Many of her fans are youngsters, and
she has been rather sweet to them. One
evening, as the curtain was going down, a
boy and a girl rushed up to the stage and
handed Martha a box of flowers. Terribly
touched, she leaned down and kissed the
boy and the girl. Then she invited them
to visit her backstage.
To put them at their ease, she started
to talk to them.
"I've noticed both of you," she said.
"You've come back day after day and sat
watching the show from early in the
morning till late at night. What time do
you get home ?"
"Oh, around three-thirty or four in the
morning," said the boy. "One of us lives
in New Rochelle, the other in Newark,
New Jersey."
"Oh, gosh," said Martha, "I hope you
don't tell your mothers that it was on
account of me you got home so late every
night !"
Martha Raye was born in Butte, Mon-
tana, of a Jewish mother and an Irish
father. Like so many other things in Mar-
tha's life, the devotion between her father
and mother was destined not to last. Only
recently her mother, Mrs. Maybelle Hooper
Reed, won a divorce from Peter Reed.
When she was three, Martha was on
the stage singing with her mother and
father. At first the team was known as
Reed & Hooper, with Martha thrown in
for good measure. Buddy, her younger
brother, was born when the family was
stranded in Grand Rapids, Michigan. They
had no money to pay for a doctor and
chorus girls delivered the baby.
When Martha was sixteen, vaudeville
was on its last legs, and she and her
brother made just enough money to cover
their meals. Since they had to hang on
to their car to get them from town to
town, they would sleep in it when they
couldn't afford to go to a hotel. There
were days when the whole family lived on
a box of crackers, and, sometimes, two
days would go by when they had nothing.
Vaudeville managers didn't always have
the money to pay performers, and, some-
times, Martha and her family, having
traveled all the way to some town to do
their act, would be cheated of their pay.
Martha grew expert at doing without
things, but, being human, she indulged in
day-dreams about a different sort of exist-
ence, in which she and her family would
be able to live on the fat of the land and
wear beautiful clothes and go to beautiful
places.
Hollywood is a strange town. Some-
times it crucifies people. Then, when it's
too late, it turns around and praises the
very people it crucified.
Remember what Hollywood did to the
late Jean Harlow — how bitterly it con-
demned her when Paul Bern died a sui-
cide? For a time her career hung in the
balance. But her fans remained loyal and,
eventually, the critics capitulated.
You, the fans, saved Jean Harlow's
career, and, today, you can save Martha
Raye from heart-break. If you read a
criticism or hear a criticism of her, know
better than to believe it, unless there is
definite proof. Give the kid a chance.
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106
10|tAND20<
'AT LEADING
5 & 10^ STORES
Part of Lily's Past
{Continued from page 15)
on its hind legs in his chair.
She had a canary, Tango, that she used
to sing duets with. And then Tango broke
his leg. His cage dropped out of the
apartment window and fell five floors to
the ground. Lily nearly died that time.
She made a tiny splinter for his leg out
of a matchstick and a sling for it and
there she sat beside him. Not even for
her meals would she budge.
Shortly after Tango recovered. Poppa
took her to the zoo. On one of the high
fences was a sign : Beware the Black
Bears. "They are the most ferocious in all
France," the caretaker explained.
"Do you hear that, Lily?" said Poppa.
"But don't be scared. They can't get
through the bars." And he looked around
for her. They couldn't get through the
bars, but Lily could. While the men had
been talking, she'd quietly slipped into the
pit and there she was, petting the bears and
saying, "Nice doggy !"
AND then, abruptly, the little world of
the Pons came to an end. It was very
sultry, that summer night in 1914, when
Mamma led the three little girls into the
living room to say good-by to their father,
a strange figure in a blue uniform. "I hate
war," said Lily.
"But you must do your bit," said her
father gently.
Streams of wounded soon began pour-
ing into Cannes. The Hotel Carleton was
transformed into a hospital and Mamma
became head nurse there. They put the
insignia of a captain on Lily and made her
Chief Entertainer. Every afternoon she
played and sang for the men. Sang for
hours on end, trying to outwit pain, to
brighten those white exhausted faces.
One day she came to the hospital carry-
ing one of the dreaded "official commu-
niques" for her mother. She watched while
Madame Pons read it and went gray with
fear. "Your father, Lily, he's been hurt
and gassed, they do not know if he will
live."
Lily went out and took her usual seat
at the piano. "You must do your bit," he
had said. She had to start "Tipperary"
three times before the words would come.
Then suddenly she was singing to her
father, singing as if her voice could help
him through. She sat at the piano for
four hours that afternoon. And at the
end, she crumpled to the floor in a dead
faint.
An echo of the war came in the form
of a letter from India not long ago. An
attache there wrote, "Are you the Lily
Pons, I wonder, who used to sing for us
poor devils back in Cannes? Maybe your
voice wasn't so wonderful then, but no
audience ever appreciated you more!"
SHE still sings for them. The first thing
she does each time she returns to France
is to give a concert for the cripples who
were the first to applaud the voice that
the whole world now recognizes.
It was the day of days when they
brought her father home. He was never
to be strong again, but he lived long
enough to witness her opening in Paris.
Days resumed something of their usual
course.
The Pons were living in Paris and Lily
was a student in the conservatory at the
time she created her first major commo-
tion. She came home one evening and
announced calmly, "I'm an actress. See,
I have a contract with Max Dearly."
It was almost too much to believe.
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With a whoop, she tossed her little beret
in the air.
How she maneuvered an interview with
him is still a mystery, but for two years
he starred her in his "Varieties."
Her life is history from there on. Her
meeting, and marriage, with the Dutch
attorney, August Mesritz, on a vacation
in Cannes. Her vocal studies and her
subsequent debut in a benefit concert at
the Hotel Ritz.
That was a night. The King of Greece
was there and the then Prince of Wales
and half of fashionable Europe. Lily
came on, all sparkling and radiant in a
cloth-of-gold gown — and bedroom sandals !
In the excitement she had forgotten to
change. And afterwards, as she went over
to curtsy in front of the king, the sandals
set up a little clap-clapping of their own 1
Four days before she was to sail for
her audition at the Metropolitan, her
father died. It was her family who forced
her to keep the all- important engagement.
And once again Lily sang with tears in her
heart.
THREE swift moving years. The glory
of the Met at her feet. Brief moments
home and the tragedy of divorce, due to
separated interests. Triumphant tours
throughout Europe, throughout America.
She was in Rio de Janeiro when the in-
vitation came from the mayor of Cannes.
Her native city wanted her. Would she
sing to them, to the people who had
known her all her life? Lily cabled her
acceptance and set a date. The proceeds
were to go to "the boys" in the hospital.
And then her South American tour was
extended and there was no time to catch
the boat home. But there was the Graf
Zeppelin. "You can't sail on it. This is
only the second trip it's made across the
Atlantic and you risk your life !" protested
her manager.
"Nevertheless, I sail !" said Lily Pons.
And was sick all that night with the fear
of it. During the two-day voyage she
lost seven pounds, pounds she could ill
afford to lose. But she arrived in Cannes
on time. That was the important matter.
A Cannes draped with flags and banners
in her honor. They loaded her with
flowers. And just before the concert Lily
slipped away to place them all on her
father's grave.
She found a cable awaiting her at home
that evening. It was from a young man
she had met in New York by the name of
Andre Kostelanetz. "Congratulations," it
read, "on the bravest thing a woman ever
did." He knew how deathly scared she
was of even airplanes. Two months later
he became her musical director. Four
months later they were engaged.
"He is a nice boy," said Madame Pons.
"I hope they find time to marry when this
picture is completed."
It was growing dark in the patio. From
outside came the soft crunch of a car
drawing up on the gravel drive. Some-
body called, "Mamma. Nanette, where are
you ?"
Lily Pons had come home.
Good News
(Continued from page 70)
On the set of "Beg, Borrow or Steal,"
we stood on the sidelines with Frank Mor-
gan and watched John Beal and Florence
Rice emote. In the scene, Beal kisses Miss
Rice with considerable enthusiasm. When
it's finished, Frank Morgan sighs. "Yester-
day," he says, "I had to give her a fatherly
kiss."
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NAME
ADDRESS-
CITY
. AGE-
107
There's never a dull moment
when Mischa Auer is around.
The Missus is in on this bit of
nonsense, too.
Simone Simon may be wonderful and
beautiful and terrific and divine to Walter
Winchell, as he reports her, but. alas, that
is not always the final test. Why shouldn't
she be nice to Mr. W? He has lovely long
columns of space in which to print people's
names. But you get a different slant on the
diminutive Mademoiselle by listening to
some of the Hollywood shopkeepers who
have had contact with her. We know one
who offers up a nightly hope that the little
lady will never darken his door again.
Whenever she comes in all the clerks run
for cover.
There's considerable excitement going on
about Marjorie Weaver, the young lady
who created a surprise hit in "Second
Honeymoon." Right now she's in "Sally,
Irene and Mary," with Alice Faye and
Joan Davis, and chances are she'll go on
to stardom. Her case is interesting be-
cause she's one of the few contest winners
ever to get anywhere in pictures. Two
years ago she won a contest and a con-
tract at Warner Brothers. After a few
bit roles the studio dropped her. She was
about to return home to Louisville when
Darryl Zanuck signed her, and it looks
now as though Louisville will have to get
along without her.
Poor Ginger Rogers. She really deserves
Ronald Colman and Benita
Hume, snapped at the Opera.
This duo continues to keep
the rumor hounds guessing.
Jecmette Mac-
Donald and
Gene Raymond
joined film-
dom's elite at
the San Fron-
cisco Opera
Company's
opening.
No matter
how auspicious
the occasion,
Hollywood al-
ways manages
an air of in-
formality. Jea-
nette and Gene
munched pop-
corn during in-
termission!
108
pity this month, for she's just received sec-
ond billing to an ape. A Los Angeles thea-
tre resurrected one of her old pictures and
ran it in conjunction with an "educational"
feature. The ads read: "The Love Life of a
Gorilla" — and Ginger Rogers in "The Thir-
teenth Guest"
■ ■ ■
Prosperity Note: When Claudette Col-
bert finishes work on "Bluebeard's Eighth
Wife," she's going abroad on one of the
luxury liners with her husband, Dr. Joel
Pressman. Last time Claudette ventured
onto the high seas she made the trip on a
tramp steamer with Norman Foster.
■ ■ ■
In "College Swing" you'll find Martha
Raye and Ben Blue too chummy for words.
Well, times certainly do change. It wasn't
so long ago that Martha was hitch-hiking
back to Chicago from Fargo, North Dakota,
having been fired from Ben Blue's vaude-
ville circuit in that prairie town. Incidentally,
it's Dave Rose with whom Martha's being
constantly seen. He's a New York music
arranger, and Martha did a little arranging
to get 'him to switch to Hollywood.
Printed in the U. S. A. by Art Color Printing Company. Dunellen, N. J.
UOGflJicsloyr
Even after ''turning on a laugh'' 100 times a day,
Myrna Loy-MGM star-finds Luci(ies easy on lier throat..
A word about your throat —
"Laughing before the sound camera
is hard on the throat," says Myrna
Loy. "After scenes of this sort, it's
clear that Luckies are the cigarette
for anyone who wants a Hght smoke
that's easy on the throat!" Here's the
reason in a nut-shell: the process
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A word about tobacco — Aren't
men who spend their lives buying
and selling tobacco the best judges of
tobacco quality? Then remember
. . . sworn records reveal that among
independent tobacco experts Lucky
Strike has twice as many exclusive
smokers as all other brands com-
bined. With men who know to-
bacco best — it's Luckies — 2 to 1.
*STAR OF MGM PICTURE "MAN-PROOF"
Lucl(ies-A Light Smolce
Easy on your throat — "It's Toasted"
WITH MEN WHO
KNOW TOBACCO BEST
MODERN SCREEN
"I'd be a very Beautiful Woman
if I'd taken care of my teeth and gums"
Neglect, Wrong Care, Ignorance of the Ipana Technique
of Gum Massage - all can bring about
"Yes, dear lady, it's your
own fault. You know that
—now. You used to have
teeth that glistened, they
were so white. And your
gums were firm and strong.
"Then, if you remember,
there was a day when your tooth brush showed
that first tinge of 'pink'— a warning that
conies sometimes to nearly all of us.
"But you said: 'It's nothing. Why, I
imagine everyone notices the same thing
sooner or later.' And you let it go at that.
"Foolish you! That was a day important to
your teeth— important to your beauty. That
was the day you should have decided, 'I'm
' going to see my dentist right now'! "
No Wise Woman
Ignores "Pink Tooth Brush"
IF you've noticed that warning tinge of
"pink" on your tooth brush— j^f your den-
tist at once. For only your dentist can tell you
when there's serious trouble ahead. Probably
he'll tell you that your gums are simply lazy
—that they need more work, more stimulation
to help keep them firm and strong.
Many a child in grade school could tell
you that often the food we eat is too soft, too
well-cooked to give gums the exercise they
need. Realize this— and you understand why
modern dentists so frequently advise the
Ipana Technique of gum massage.
For Ipana is especially designed not only
to clean teeth but, with massage, to help the
health of your gums as well. Each time you
brush your teeth, massage a little Ipana into
the gums, with forefinger or brush. This
arouses circulation in the gums— they tend
to become stronger, firmer. Teeth are brighter
—your smile sparkles with a new loveliness!
* * *
DOUBLE DUTY— Perfected with the aid of over
1,000 dentists, Rubberset's Double Duty
Tooth Brush is especially designed to make
gum massage easy and more effective.
IPANA TOOTH PASTE
-9
f-ta
TM JUST A BRIDE
. . buf Fm learning fast"
Secret -"I've found out that one secret of
successful entertaining is to provide plenty
of good light."
Cost — "It isn't expensive. The cost for an
entire evening is less than the cost of a
package of cigarettes."
Keep— That's why it is a good idea to keep
G-E Mazda lamps handy for emergencies.
Be sure to look for the G-E monogram
when you buy lamps.
75 and 100-watts
for 15-25-
40-60-watts
20c
Buy bulbs where
you see this
emblem displayed
GENERAL@ELECTRIC
MAZDA LAMPS
MODERN
SCREEN
Copyright, 1938, by Dell Publishing Co., Inc.
Regina Cannon, Editor
Leo Townsend, Hollywood Editor
Abril Lamarque, Art Editor
NOW SHOWING
HE'S A SIMPLE SOUL
24
a S. HOYT
LET'S TALK ABOUT MIRIAM
26
NANEHE KUTNER
GETTING A GLIMPSE OF GARY
28
IDA ZEITLIN
WHAT-A-MAN MORRIS
30
GLADYS HALL
IT'S BEEN TOO EASY
32
MARY PARKES
WHOM WILL TYRONE POWER MARRY?
34
GRANT LEWI
PROFESSIONAL MARRIAGE
36
MARTHA KERR
ELIGIBLE BACHELOR
38
FAITH SERVICE
IT'S FUN TO BE BROKE
39
FRANC DILLON
MOVIE-STAR BEAUTY FOR YOU
40
MaI^Y MARSHALL
THEIR BEST INVESTMENTS
42
DORA ALBERT
OFF THEIR GUARD
43
GEORGE STROCK
GOINGS-ON IN GOTHAM
59
ROBERT MclLWAINE
GLADYS GETS THERE
62
MACK HUGHES
SHORT SUBJECTS
KEEPIN' FIT
6
WITH DOLORES DEL RIO
SUIT-ABLE KNITS
8
FREE INSTRUCTIONS
SWANK AT OXFORD
10
COLLEGE CLOTHES '
THE PARTY'S ON
12
AT GRACE MOORE'S
NFORMATION DESK
14
ALL THE ANSWERS '
BETWEEN YOU 'N' ME
16
PRIZE LETTERS
GOOD NEWS
56
MOVIE GOSSIP
REVIEWS
60
WHAT TO SEE
OUR PUZZLE PAGE
72
MOVIE X-WORD
AT SANTA ANITA
88
THE RACES
Modern Screen, No. 301773. Published monthly by Dell Publishing Company, Incorporated.
Office of publication at Washington and South Avenues, Dunellen, N. J. Executive and edi-
torial offices, 149 Madison Avenue, N, V. Chicago, III., office, 360 N. Michigan Avenue.
George T. Delacorte, Jr., Presiderii^-H. Meyer, Vice-President, J. F. Henry, Vice-President,-
M. Delacorte, Secretary. Vol. 16, No. 4, March, 1938. Printed in the U. S. A. Price in the
United States, $1.00 a year, 10c a copy. Canadian subscriptions, $1.00 a year. Foreign
subscriptions $2.00 a year. Entered as second class matter, September 18, 1930, at the Post-
office, Dunellen, New Jersey, under act of March 3, 1879. The publishers accept no respon-
sibility for tlje return of unsolicited material. Sole foreign Agents: The International News
Company, Ltd., 5 Breams Building, London, E.C. 4, England. Names of characters used in
stories and in humorous and semi-fictional matter ore fictitious. If the name of a living person is
used it is purely a coincidence.
MODERN SCREEN
Two-fisted American
college student goes
to Oxford! Oh, boy,
here's a drama that
packs a wallop every
minute of the way!
A YANK AT OXFORD
With LIONEL BARRYMORE
Maureen O'Sullivan • Vivien Leigh
Edmund Gwenn • Griffith Jones • From an Original story by John Monk Saunders
Directed by JACK CONWAY • Produced by MICHAEL BALCON
A METRO-COLDWYN-MAYER PICTURE
MODERN SCREEN
Nothing like a
brisk sprint, says
Dolores Del Rio.
REEPIN'
FIT
Six sets of ten-
nis? A mere
trifle, Dolores
will tell YOU.
Now for a
brisk swim.
Don't try this
finish unless
you're feeling
pretty peppy.
Why, Dolores, what's
the matter with that
Australian crawl? Sure-
ly, you can't be tired
already!
Just oozing vim, vigor
and vitamins, Dolores
will report at the studio
now for a day's work.
The rest was just play.
MODERN SCREEN
gallant with the ladies . . . beloved
by every belle in all of New Orleans
. . . feared by those rats of the Seven
Seas ... his bold, bad buccaneers . . .
Jean Lafitte...the gayest lad who ever
sailed beneath the Skull and Cross-
bones lives again in the grandest
historical romance ever to swing
across the screen... Cecil B.
DeMille's flaming adven-
ture-epic . . . "THE
BUCCANEER." In the
thrilling role of the
dashing gentleman
pirate, who took
time out from his pirateering and his
romancing to help Andrew Jackson
win the Battle of New Orleans and
save America from the British . . .
Fredric March reaches new heights
of screen adventure. As the little
Dutch girl whose love forced the
dashing pirate to strike his
flag . . . Franciska Gaal,
beautiful new Paramount
star discovery, makes
a fitting team-mate for
that gentleman pirate
Capt. Jean Lafitte.
Screen Play by
with Franciska Gaal
Akim Tamiroff • Margot Grahame
Walter Brennan
Ian Keith • Anthony Quinn
Douglass Dumbrille • Beulah Bondi
Robert Barrat • Hugh Sothern
Louise Campbell • Evelyn Keyes
Directed by Cecil B. DeMille
A Paramount Picture
Edwin Justus Mayer, Harold Lamb and C. Gardner Sullivan • Based on an Adaptation by Jeanie Macpherson of "Lafitte the Pirate" by Lyle Saxoo
7
MODERN SCREEN
Boy meets grief!
One of childhood's greatest trials (and
parents', too) . . . bad-tasting medicine
KNITS
Boy meets joy !
Three cheers for Mother (she's cheering,
too) . . . She got delicious FEEN-A-MINT
YOU can do real harm to delicate little systems
when you force your youngsters to take harsh,
nasty doses ! Tantrums and upsets mean real grief
for them — and grief for you as well.
Change all this instantly the modern way — with
FEEN-A-MINT, the laxative in delicious chewing
gum. Youngsters enjoy it — there's no medicine taste
at all. But even more important, it gives them gentle,
dependable relief without unpleasant after-effects.
16 million, young and old, use FEEN-A-MINT. They
know, as you'll find, that — for children and adults
both — no other type of laxative can do exactly what
FEEN-A-MINT does.
Ideal for you
and your children because:
A_ NO STOMACH UPSET- With FEEN-A-
MINT you don't swallow a heavy, bulky
dose; there is nothing to burden digestion.
1 CHEWING AIDS DIGESTION— The chew-
ing stimulates the flow of the same natural
p\ alkaline fluids that help food digest.
» ACTS WHERE YOU NEED IT— FEEN-A-
MINT'S tasteless laxative ingredient
passes through the stomach without effect,
and does its work in the intestine, where it
should — easily, pleasantly, comfortably.
No wonder FEEN-A-MINT doesn't gripe, nauseate,
or disturb sleep ! And it's wonderfully easy and
pleasant to take! Try FEEN-A-MINT once — and
you'll make it your family laxative for always. At
all druggists, or write for
generous FREE trial pack-
age. Dept. 65, FEEN-
A-MINT, Newark, N. J.
DELICIOUS
Tastes like
your favorite
chewing gum
WE'RE going to have a "Suit
Spring!" So plan to vary your suit
wardrobe with this knit blouse, per-
fect for wear with your tweeds. The
diagonally striped collar and lapel
give just that added note of chic.
And the tricky gilet will do wonders
for your tailleurs, for the crystal
buttons make it dressy, while the
single collar keeps it tailored. You'll
make these in different colors, for
you can whip one out in nothing
flat ! Send in your stamped, ad-
dressed envelope today for instruc-
tions for both these smart knits.
ANN WILLS. MODERN SCREEN
149 Madison Avenue, New York, N. Y.
Kindly send, at no cost to me:
Knitting directions for 1321
Knitting directions for 1316
I am enclosing a stamped, address d
(large) envelope.
Name
Street
City State
(Check one or both designs and please pri t
name and address)
8
MODERN SCREEN
THE KID COMES BACK
The laughing,
larruping hero of
"Kid Galahad"!
The heart-break-
ing, chin-busting
gob of "Sub-
marine D-1"!
Speeding to stardom faster than any other screen
hero in years! Here's the daring, dashing new
thrill in boy friends, with the devil in his eyes, a
wallop in his mitt and heaven in his arms! Winning
millions of hearts in every role he plays! See him
now— more exciting than ever— in the tingling
romance of a fightin' fool who knew how to love!
Shooting another love punch straight ^
to your heart in '*The Kid Comes Back"!
with
WAYNE
MODERN SCREEN
SWANK AT OXFORD
BY ANN WILLS
Maureen's suit of fine brown wool with its little
coatee and checked waistcoat is extremely prac-
tical. (Right) Another favorite of hers is this two-
piece ensemble. It's no wonder Bob Taylor fell for
her in "A Yank at Oxford."
WHEN A noted Hollywood de-
signer recently made up her annual
list of the ten best-dressed women
on the screen, she chose Maureen
O'SuUivan as "A perfect example
of the piquant type of woman," be-
cause "her clothes show infinite
good taste in their simplicity of line
and uniqueness of color combina-
tion."
In "A Yank At Oxford," Maureen
is just herself, a charming, well-
bred young British girl who wins
the heart of the "Yank," Lee Sheri-
dan, played by Bob Taylor. And
you won't wonder that the hand-
some young American falls for the
sister of his deadliest rival when you
see the stunning costumes she wears
in the picture. They are knockouts !
Fourteen exclusive outfits were
designed by Rene Hubert for
Maureen's role of an undergraduate
in "A Yank At Oxford." So
if you're seeking inspiration, don't
miss this picture, for you'll cer-
tainly find lots of good ideas. The
two costumes shown here are good
examples of what the collegian
should wear, simple in line, smart
but not sophisticated.
Bright college years are made
brighter by smart clothes, and what
could be more so than Maureen's
practical ensemble which she wears
as a gay young undergraduate
about-Oxf ord ? The slim skirt is
(Continued on page 84)
SMART COLLEGIAN FASHIONS WORN BY MAUREEN O'SULLIVAN
10
MODERN SCREEN
I simply fled! Escape— that was all I
could think of! Just to get away from
the gaiety and music— that marvelous
music — of my first college prom! After
all, when you're chafed . . . dancing isn't
fun, it's agony!
"Simpleton!" said Marge, who was in the dressing-room
making minor face repairs. "You'd think you were born
in the dark ages! This dance came at the wrong time for
me, too— but you don't hear me complaining! Haven't
you heard about Modess?"
"Did you ask for Modess, miss?" said
the maid handing Marge a blue box.
"Good," beamed Marge. "And scissors
too, please . . . Now, my dear, I'll show
you two good reasons why you should
get in the habit of saying Modess . . ."
"See this filler?" said Marge — cutting
a pad in two. "Feel it . . . it's fluffy and
soft as the down on a duck! Modess isn't
made up of crepey, close-packed layers
— like ordinary napkins. It's so much
softer. That's why Modess doesn't chafe!"
"Now, watch—" continued Marge,
"here's reason number two! Modess is
also saferl" So saying — she took the
moisture-proof backing from inside a
pad and poured water on it. Moisture-
proof is right! I was simply amazed!
"Well, pet," said Marge, as we were getting our wraps,
several hours later, "isn't it wonderful what a difference
being comfortable can make in a girl's life! By the way"
— she added — "here's something I forgot to tell you.
You'll find Modess costs less, in most places, than any
other nationally known napkin!"
C^^* t^'^ ^a^cf"}^ soyH*^ ^^^^^ Y
IF YOU PREFER A SMALLER, SLIGHTLY NARROWER PAD, SAY "JUNIOR MODESS"
11
THE
PARTY'S
BY MARJORIE
BEEN
Grace Moore loves to
entertain. Her recipes
are worth trying. At
left, a boon to host-
esses without a maid,
this Hospitality Tray
is just the thing.
Courtesy "Toastmaster"
GOING TO give a party? Well, a
little party booklet I am privileged
to ofifer free to the first thousand or
so who write in for it should provide
some helpful suggestions. But we
will have to wait until somewhat
farther along for a more complete
description of this booklet and how
to obtain your copy.
Right now I want to tell you about
the party foods suggested right in
these pages by the lovely singer who
so smilingly and graciously faces you
across her own beautifully appointed
table at the top of the next page.
One of the most enthusiastic
hostesses I have ever encountered is
Grace Moore who, unlike many of
her sister screen stars, considers
catering and cooking as really worth-
while accomplishments and regards
entertaining as one of the fine arts!
Just give Miss Moore the slightest
of pretexts for inviting her friends
to the house, in fact, and the party's
on. However, on festive days like
birthdays, holidays and anniversaries,
she really goes to town and entertains
lavishly.
Decidedly Spanish in inspiration
you will find the foods she serves.
This of course is due to the fact that
Miss Moore's husband, Valentin
Parera, is a Spaniard and through
him she has learned to take a real
interest in the highly seasoned dishes
of his native country. In fact so
12
proficient has Miss Moore become,
with the help of her Basque cook,
Jeanne, that the recipes she has
worked out are in great demand
among her friends and there has even
been some talk of a cook book in-
corporating many of the culinary
secrets she has picked up in her
travels.
After her most recent Hollywood
farewell party we sat down together
and swapped recipes like a couple of
small town housewives. These of
course are the self-same recipes that
I am giving you on page 64.
Now you, too, can learn how easy
it is to make Salteados a la Catalana !
Don't let that name throw you, how-
ever, for this dish turns out to be a
comparatively simple hot lobster con-
coction which has a delectable sauce
and which also has the added fact
that it can be made with canned (or
frozen) lobster as well as with fresh,
to recommend it.
At every bufifet supper party there
should be at least one hot dish, you
know, so at your very next affair
why not make it this one? A large
bowl of Spanish Rice or some other
starchy food could well accompany
this shell fish treat and will serve to
extend the servings. Miss Moore
suggests further that if you are hav-
ing a large and hungry crowd that
you bring in the hot food in two small
serving dishes rather than in one
large one. In this way one of the
dishes can be held temporarily in re-
serve, in the oven.
You will probably also enjoy hav-
ing Miss Moore's directions for the
preparation of the most delectable
spreads and snacks, those one-bite
treats that serve equally well as in-
troductions to a regular company din-
ner or as probably the most popular
features of an informal bufifet. You'll
find many of these ideas on page 64,
printed in such form that they can
be conveniently cut out and mounted
on regular size filing cards.
Doubtless you've never eaten the
Tocinos del Cielo which you'll also
find described on that page in detail.
I know I had never even heard of
them before that particular party at
the Pareras. Nor would I have
dreamed that in translation that
melodious name would turn into
prosaic sounding "Little Pigs of
Heaven."
When entertaining a crowd, breads
too, play a most important role in
your cast of foods, according to our
lovely source of inspiration. Perhaps
you'll like to serve small hot biscuits
at your next bufifet party. These
should be split and buttered before
being brought in, of course, since at
such suppers your guests _ will not
want to be juggling extra silver such
as butter knives ! Or better still make
up a generous batch of the Pimento
MODERN SCREEN
"I VOSrr CARE HOIA/ PRETTY SHE fS
SHta SPOIL THESHOU//"
Cheese Pinwheels for which butter
is unnecessary.
Many of you, I know, will fall for
the hot toast and Hospitality Tray
idea that is now sweeping the coun-
try. This is one of those self-service
inspirations that are such a boon to
the hostess-who-has-no-maid. For,
with sliced bread, an attractive look-
ing modern toaster and some tasty
spreads on hand, each guest can fix
his own refreshments to suit himself.
The illustration shows you a corner
of a buffet with one of these trays
all ready for an enthusiastic raid.
Didn't have room, however, to show
the cheese tray that I feel should
be included with the other "spreads."
And this brings us to the little
booklet I mentioned before which
contains many suggestions for just
such spreads, in comljinations that
are unusual and tasty. This fourteen-
page booklet also gives directions for
playing such popular adult games as
"Guess Who," "Vocabulary" and
"Lost and Found."
If you would like a copy just write
The Modern Hostess in care of
Modern Screen, 149 Madison Ave-
nue, New York, New York, en-
closing a three cent stamp. The supply
is limited, so you'll know, if you have
failed to receive a copy, that more
than a thousand other hostesses were
more prompt than you.
For Miss Moore's recipes turn to
page 64.
BANISH "TATTLE-TALE GRAY"
WITH FELS-NAPTHA SOAP!
Copr.. Fela & Co.. l»M
13
MODERN SCREEN
iVe longed
TO KISS
Men are /«//rrfc7i^^— by natural loveliness,
so why risk a painted look? Unlike ordinary
lipsticks, Tangee intensifies your own natural
coloring — never coats your lips with ugly red
grease . . . nor leaves red smears on teeth or
handkerchiefs.
Tangee looks orange in the stick. But it
magically changes on your lips to a warm
blush-rose shade, blending perfectly with your
complexion. Only Tangee has this famous
Tangee magic color-change principle.
Tangee's special cream base soothes and
softens lips. No drying, no cracking, no chap-
ping. Get Tangee today. 39^ and $1.10 sizes.
Also in Theatrical, a deeper shade for profes-
sional use. See coupon below.
Untouched — Lips left
untouched are apt to have a
faded, parched look.
Greasy, painted lips—
Don't risk that painted look.
Men don*t like it.
Tangee lovable Zips-
Intensifies natural color,
ends that painted look.
World's Mosf Famous Lipstick
I ENDS THAT PAINTED LOOK
BEWARE OF SUBSTITUTES! There is only
one Tangee — don't let anyone switch you. Be sure
to ask for TANGEE NATURAL. If you prefer more
color for evening wear, ask for Tangee Theatrical.
4 PIECE MIRACLE MAKE-UP SET |
and FREE CHARM TEST |
The George W. Luft Co., 417 Fifth Ave., N. Y. C. |
Please ru.sh "Miracle Make-Up Set" containing _
miniature Tangee Lipstick, Rouge Compact, Creme |
Rouge and Pace Powder. I enclose 10(! (stamps or
coin). Also send FREE Tangee Charm Test. |
Check Shade of □ Flesh □ Rachel □ Light •
Powder Desired (lit in Canada) Rachel I
Name . : I
HAS fl MOVIE STAR WRITTEN TO YOO? WATCH THIS DEPARTMENT!
Address .
City
Bob Livingston (First printing). He was
born lucky, to hear him tell it, and cer-
tainly, though he was scarcely a pampered
•son of wealth, he has probably had more
lucliy breaks than any other actor in Holly-
wood. Many young men would consider it
pretty tough if they had to work their way
through college. Bob, however, was philo-
sophical. He earned his board and tuition
by giving lessons in amateur gymnastics
and tumbling. This was a lucky choice for
it paved the way for later screen roles
which demanded gymnastic ability. When
he finished college, his father, being a
writer, known as Ed
Randall, creator of the
famous "Say Bill" letters
of World War days, Bob
entered the newspaper pro-
fession. After one year as
a i-eporter, he gave it up
and decided, of all things,
to become an actor. He
went to the Pasadena Com-
munity Playhouse, known
as the Little Theatre of the West, and play-
ing any kind of roles he could get, he
acquired a varied and thorough dramatic
training. He soon attracted the attention
of talent scouts from Kepublic Pictures, and
he was signed to a contract. Because of his
physique and obvious athletic appearance,
this studio teamed him up with Crash
Corrigan and Max Terhune in the famous
"Three Mesquiteers" series. Since that time
his popularity as a Western star has in-
creased by leaps and bounds until now he
ranks with the foremost exponents of this
type of picture. He is a native of Quincy, 111.
Judy Garland (Second printing). With the
firm conviction that she wanted to be a
film actress, Judy Garland walked onto the
Metro-Goldwyn-Mayer lot one day and an-
nounced to all and sundry that she was
looking for a job. She got it and she was
twelve years old at the
time. Judy was born with
the theatre in her veins.
She heard it from the time
she could understand what
her parents, Frank aud
Ethel Gumm, and her two
older sisters, Virginia and
Suzanne, were talking
about. The family was
theatrical. Father and
Mother were professional vaudeville folk
and her father is now a theatre owner in
Los Angeles. Judy first saw the light of
day in Murfreesboro, Teun., and has been
in "almost every city in the United States
with her parents "on the road." She calls
Los Angeles home, however, because most
of her education was acquired there. She
became a member of a siuging trio com-
posed of herself and her two elder sisters
and the act worked at the World's Fair in
Chicago and in several big theatres in the
middle West. Suzanne married and that
broke up the act. So .Tudy wasn't bluffing
when she told Metro otHcials that she'd had
eight years of stage experience. That claim
got her an audition and her performance
brought her a contract. The funny papers
are her favorite form of reading matter and
baseball, riding, swimming and golf are
her favorite forms of exercise. She loves to
eat chocolate cake and ice cream and she
sleeps nine to ten hours every night. She
likes people in show business. Her birth-
day is January tenth. She's four feet, eleven
inches tall and weighs ninety pounds. Her
hair and eyes are brown.
George Murphy (First printing.) It happened
by accident. They let a pick-and-shovel
man down into a Pennsylvania coal mine
Are you going to receive a personal
letter from your favorite star? If you
entered the Personal-Letter Contest
announced in this department last
month, be sure to get your copy of the
April issue of Modern Screen early!
It will be on sale March first and, who
knows, maybe the letter, which will be
published by the Information Desk, as
well as mailed to the lucky winner, will
be addressed to you!
If you hove not already tried for a
letter of your own, get into the swim
this month. The reader who sends in
the most votes for his or her particular
favorite, each vote to be printed on
a Modern Screen coupon, will receive
a letter from that star, personally
written and signed. You can get your
friends to help you by letting you clip
the coupons out of their copies of
Modern Screen. Closing date for this
month's contest is February twenty-
fifth, 1938. In case of a tie, each
winner will receive a letter for their
movie scrapbook.
Don't let this contest spoil your en-
thusiasm for keeping up the Barome-
ter records, however. You can send
in as many votes as you like, written
in letters or on postcards, for the star
you want to see at the top of our
Barometer. Only personal letter votes
must be written on a coupon and
mailed to the Personal-Letter Editor,
Modern Screen, 149 Madison Avenue,
New York, N. Y.
14
MODERN SCREEN
and when the cable broke below, they
hauled up an actor. Michael Murphy's boy,
George, who had graduated from Yale,
came up in the bucket, after they'd dug
him out from beneath a
fortune in black diamonds.
He spent six months in
the hospital and was
through with mining.
George had seven dollars
and a lot of aches and
pains when he hit New
York. He got a job as a
runner in 'Wall Street and
while working at this job
he met Juliette Johnson, a clever dancer,
who encouraged him to try his own prowess
on the dance floor. They became a dance
team and after a lot of struggle, were
starred in the better Broadway night spots.
During this period, they fell in love and
were married in 1927. The team broke up
in 1928 when George was given the juvenile
lead in the Broadway production of "Good
News." Juliette became merely Mrs.
Murphy, which she has remained ever since,
despite flattering picture and stage offer-
ings. Following "Good News," Murphy ap-
peared in "Hold Everything." "Shoot The
Works," "Here Goes The Bride," "Of Thee
I Sing," and "Roberta," all successful
Broadway shows. A year ago he went to
Hollywood, with no thought of a screen
career in his mind. While there, he agreed
to make a screen test with a girl who aspired
to movie fame. Samuel Goldwyn saw the
test and signed Murphy to a contract, but
did not take the girl. His first picture was
"Kid Millions." He has danced and sung
in many others since then, his most recent
being "Broadway Melody of 1938." Between
song-and-dance pictures, he has done nu-
merous straight dramatic roles. He is
under contract to Metro-Goldwyn-Mayer.
He was born in New Haven, Conn., the son
of the famous Michael Murphy, Olympic
coach and one time coach at the University
of Pennsylvania. He studied engineering,
though his great ambition was to be a
baseball pitcher. It was in his capacity as
a student, actually, that he went to work in
a Pennsylvania coal mine, with the result-
ing accident that changed the entire course
of his career. He weighs a hundred and
seventy-five pounds and is five feet eleven
and a half inches tall.
CoUis Duncan, Tompkinsville, Ky. Loretta
Young isn't married, though she's been re-
ported engaged a number of times. She is
twenty-three years old, is five feet, three
inches tall and weighs a hundred and seven
pounds.
George Dimas, Ambridge, Pa. Write to Deanna
Durbin at Universal Studios, Universal City,
California. If you don't enclose twenty-five
cents with your request, however, you won't
receive the photograph. This also answers
Delia Davis of Kalamazoo. Mich.
Angele Clausen, Berkeley, Cal. Paul Muni's
real name is Muni Weisenfreud.
M. Mosco, Rochelle Park, N. J. Tim Holt is
Jack Holt's son but David Holt is not
related to him at all in spite of the name.
Virginia Mahoney, Memphis Tenn. Both Greta
Garbo and Jeanette MacDonald are under
contract to Metro-Goldwyn-Mayer studios,
Culver City, Cal. Address them there and
enclose twenty-five cents for each photo-
graph.
Janet Starr, Boston, Mass. Have a heart,
Janet, Errol Flynn is only twenty-eight
years old himself, so he'd hardly be the
(.Continued on page 112)
INFORMATION DESK. MODERN SCREEN.
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15
MODERN SCREEN
BETWE
$5.00 Prize Letter
A Slap In the Face for Flynn
Regarding "Robinhood Throws a Party,"
in your January issue, I have this to say
about it. I've always considered Mr.
Flynn one of the most self-satisfied, ego-
tistical stars on the screen. (Perhaps he
isn't, but that's my opinion and I'll stick
to it.) However, I did admire him be-
cause he was adventurous, self-sufficient
and independent — pretty much a free soul.
Mind you, I never agreed with one thing
the man said or did or wrote, but I ad-
mired his daring.
But, alas, what has happened? He used
to be a rat, perhaps, but he's turned into
a "wee, sleekit, cowrin', tim'rous beastie"
(mouse to you). In Miss Zeitlin's article,
she pictures him as living in an ordinary
house, possessed of several pets, a butler,
a wife and some nice, simple friends. No
fights with Mrs. Flynn, no slurs against the
fair name of woman, no cracks about
Hollywood. The man's domesticated! Alack
a-day, I loathed him, but now I pity him.
Mr. Flynn, I slap you in the face with
fny glove. Do you accept my challenge?
— Anne Park, Elmira, N. Y.
$2.00 Prize Poem
Woo Hoo Hugh
He may not be handsome — he may not be
sweet
He may not sweep a gal off her feet.
But I laugh and I chuckle when he comes
into view
That's Hugh Herbert with his Woo
Hoo! Woo Hoo!
I don't care for Gable, Powell or Flynn
Since somebody let this slaphappy guy jn
And when I go to the movies I laugh till
I'm blue
At the antics of Hughie with his Woo
Hoo! Woo Hoo!
My whole family loves him and just can't
get enough
Of his silly, daffy, pixilated stuff
My mother and dad roar outright ; my
brothers do, too.
Why he's even got my grandma shout-
ing Woo Hoo ! — Rose Ford, Provi-
dence, R. I.
$2.00 Prize Letter
Balanced Movie-Fare
Isn't the argument in favor of only
Grade A pictures a little like the literary
snobs who will read only best sellers?
Right, perhaps, for those who see very few
movies, but for the fans who see one or
more a week, the Grade B pictures are
like simple food on the health diet.
The more excellent the picture the great-
er its power to sway the mind and emo-
tions. Too much of that is like eating too
rich food. The milder, less impressive pic-
tures can be as pleasant and comfortable
as normal, daily life.
Also, like the stock companies to the
EN YOD i
I
I
This is how one fan would
register her disappointment in
Errol Flynn — if she ever got the
chance.
legitimate stage. Grade B pictures are the '
best place for growing talent. I like to '
watch them develop and I feel quite the ,
discoverer if I can pick a rising star. They 1
contribute to the balanced diet in the i
movie-fare. — Beulah Barker, Chicago, 111. I
$1.00 Prize Letter ;
Not too Late !
!
Resolutions I hope the following studios i
made : i
RKO-Radio : Let Ginger Rogers knock ]
at more "Stage Doors" and less stage |
floors. She's a swell actress. '
20th Century-Fox : Keep on teaming Lo-
retta Young and Tyrone Power. '
M-G-M : Keep Joan Crawford in "from ^
rags to riches" roles. She's my favorite
screen Cinderella.
Hal Roach : Find another "Topper" for ,
Constance Bennett and Cary Grant. It
would top 1938. ^ '
Warners : Let Dick Powell play more
mature roles. He's forever the shy young
man.
20th Century-Fox : Don't spoil Shirley j
Temple.
Paramount : Don't put Martha Raye in
too many pictures. She deserves only the
best. — Jean Minahan, Pittsburgh, Pa.
$1.00 Prize Letter
Bette Davis Rooter
It was a welcome relief to have Bette
Davis at last emerge from those tense,
somber dramas with the unhappy endings,
and sally forth into light comedy like "It's I
Love I'm After."
Miss Davis possesses too grand a sense
of humor, too sparkling a personality and
too great a talent as a comedienne to be
frittering away her ability on those War-
ner exposes of the shady strata of life. I
do not mean to infer that Miss Davis
should not continue to be dramatic. I only
wish to say that she should avoid too many
16
'N'
MODERN SCREEN
EVERY MONTH LHCKY CONTRIBUTORS WIN CASH PRIZES
FOR THEIR LETTERS. HAVE YOD TRIED YOUR LUCK?
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ
ten by the fans and for them
Make your letter or poem brief
Remember, too. that your con
tributions must be original
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Special offer: If you will have
your letters here by February
21st, prizes will go out to you
by the 26th. So get busy boys
and girls, and let's have your
contributions.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; 2 sec-
ond prizes of $2 each; 6 prizes
of $1 each. Address: Between
You and Me, 149 Madison Ave.,
New York, New York.
"Why the fuss about Grade B
pictures?" asks a reader. They
are to movies what stock com-
panies are to the stage.
pictures of "The Marked Woman" type.
Her versatility should be equally divided
between light comedy and intelligent, sus-
penseful drama, preferably with a happy
conclusion. Since Warners own the rights
to "Joan of Arc," I think they would be
very wise to cast Miss Davis as Saint Joan.
W. McCauley, Springfield, Mass.
$1.00 Prize Letter
Paging Old-Timers
We are led to believe that the producers
attempt to give the public exactly what it
desires in motion pictures. But I am in-
clined to think otherwise. Why? Well,
I have never yet met a fan who did not
enjoy seeing a familiar favorite grace the
screen, and once in a while enjoy seeing
a new face crop up to take its place among
the unforgettables. However, during
1936-37 the producers gave us an over-
dose of the latter. Old favorites, beloved
by fans, were cast into the limbos of non-
entities and inexperienced newcomers
rocketed into prominence.
Of course, I agree that every talented
youngster should be given a chance, but
why always at the expense of our fav-
orites? After all, it takes an experienced
star to make a picture. New talent is al-
ways available but such grand ability as
is possessed by the experienced players is
very rare. We do want new talent, but
not too much at a time. — Paul Nemuk,
Little Falls, N. Y.
$1.00 Prize Letter
Movies and the Radio
Lately, when the weather is bad and
(Continued on page 118)
Strong lights, hard shadows bring
out harsh angles on your face
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17
MODERN SCREEN
JEAN HERSHOLT
ETHEL MERMAN
CESAR ROMERO
BILLY GILBERT
RAYMOND SCOTT QUINTET
WALLY VERNON • LEAH RAY
Directed by Roy Del Ruth
Associate Producer David Hempsfead
Original Screen Play by Milton Sperling
and Boris Ingster
SONGS! SONGS! SONGS!
"Hot and Happy", "A Gypsy Told Me"
"You Are The Music To The Words In
My Heart", "Yonny And His Oompah"
by Som Pokrass and Jack Yeilen
It comes to you, of course, from DARRYL F. ZANUCK and his 20th Century-Fox hit creators
18
Photo by Frank Powolny
Bob gets a kick out of
hearing Ccrrol Ann
babble of the beau-
ties of her young
sister, Barbara.
BOB YOUNG handed me the slip of
paper on which he'd just scribbled the
following: "How to Lose Friends and
Influence Nobody" — by Robert Young.
"Me and Dale Carnegie," he grinned.
"He's a psychologist and a writer. I
don't know much more about writing than
how to tell one end of a pencil from the
other. As for psychology, I've watched
the antics of my own ego, and that's the
conclusion I'm led to.
"Maybe I'm not typical. I've read
about the timid little guy who finds he
has a nose like Napoleon's, and winds up on the throne.
And about the wallflower who tells herself, 'You're
beautiful, you're beautiful, you're beautiful,' and the men
come flocking. It doesn't work that way with me. Maybe
I'm short on faith. If I said to myself, 'You're Napoleon,
you're beautiful' — which, let me interpolate, I don't —
echo would immediately answer, 'You're Bob Young, with
the same old pan you always had,' and I wouldn't know
the comeljack to that one.
"What I do sometimes tell myself is, 'You're not a good
mixer. You should cultivate dash and aplomb.' Mostly
that happens after I've been playing one of these sons of
wealth who dash with aplomb all over the Ritz and Italy
and St. Moritz, never at a loss for the right word, thanks
to the author.
"Here's what happens. I meet someone. Ordinarily
we'd pass the time of
day, and go about
our business. But
I'm a man of the
world now, I've got
to act in character.
What would a man
of the world do at
this point ? He'd toss
off some gay and
charming nifty, light
as a bubble.
"I rack my mind
for a nifty. Needless to say, my mind remains a blank.
"Or I go to a party, bent on being the life of it for
once. I've primed myself with a couple of stories, and
wait for a chance to spring them — airily, you know, as if
they'd just popped into my head. The screen hero always
gets his chance, but somehow I don't. Nobody seems to
be in the mood for stories — not for mine, anyway. I
stroll around, searching for a victim, and trying to look
like myself in 'The Bride Wore Red.' Apparently with-
out success, because people start getting that what's-the-
matter-with-yozf ? look in their eyes.
"Finally, I collar someone. Airy or not, I'm going to
tell a story. By that time I'm in a state where, if Carol
Ann asked me for 'The Three Bears,' I wouldn't know
which came first. I flounder and I fumble and I miss the
point and I pull out my handkerchief to wipe the beads
IF YOD HAVE A HANKERING TO BE SOMEONE YOU'RE NOT, DON'T CHANGE-AT LEAST NOT
24
Bob Young may be the screen's
No. 1 playboy, but you should
see him at home.
from my brow. My audience looks solicitous. 'You
feeling all right, Bob? Oh, I just asked. You don't look
so hot. Why don't you go lie down some place for a
while ?' "
A knock at the door was followed by the head of an
eager young man, thrust through the opening.
"Excuse me, Bob. That your car outside? The green
one? Boy, she's a honey! How does she run? What
mileage do you get ? How does the super-charging work ?"
Bob satisfied the young man's thirst for information,
and the head withdrew. Then he turned to me.
"There's a case in point. Me and my green car. I've
got no business with that car. It's too flashy for me,
costs too much to operate. I always feel like apologizing
for it. I have to grit my teeth and say, 'be nonchalant,
be nonchalant, be nonchalant,' to keep from explaining to
everyone how I happened to get it."
I knew he was exaggerating for the sake of providing
entertainment. Whatever grain of truth lay hidden among
the chaff — and which of us doesn't recognize himself in a
similar situation ? — you wouldn't have to know Bob Young
very well to realize that he and pretense are strangers.
Of all the actors I've met in Hollywood, he is the most
un-actorish. He realizes that it's part of the player's
province to exploit himself. Therefore, when he must,
he talks about himself directly, frankly, without resorting
to the coy capers of the hypersensitive. He doesn't have
to assure you that he'd rather talk of other things. That
fact is obvious after half an hour's contact with his
Florence Rice enjoys the attentions of
Jimmy Stewart and Bob between takes
of "Navy Blue and Gold."
inquiring mind. He doesn't have to assume a modesty
which is his by instinct. In the essentials of character,
he is the same young man he would have been if fate
hadn't plucked him from a Building and Loan Company
and set him among the stars.
As for the car, it happened this way. (And I'm not
apologizing either). He went to the shop to have the top
of his old car put down. "How about buying one of
these?" they asked him, pointing to a dashing and, of
course, high-priced model.
"No use for it."
"Well, come on over here anyway, and take a look."
He looked, he admired, and he turned away. They
, offered hini a deal. You who own cars don't have to be
told how it's done. They proved to him in black and
white that he'd be losing money if he didn't buy this
particular car.
He went home and talked it over with his wife. Deal
or no deal, she was against it. "It always looks better to
me in the bank than rolling around on wheels," said the
sensible Betty Lou.
"Me, too," said Bob, with a far-away look in his eyes.
Betty smiled. She'd said her say. If Bob wanted it
badly enough to buy it, it was no part of her policy to
stop him.
It took him a long time to make up his mind. His tastes
were conservative. He'd never yet splurged on anything.
But the lines of that definitely dashing car haunted and
tempted him. So he bought it. (Continued on page 103)
DNTIL YOU'VE HEARD WHAT HAPPENED TO BOD YOUNG, WHO ONCE HAD PLANS FOR HIMSELF
25
LET'S TALK
THEY ALL DO, BDT WHEN MISS HOPKINS
SPEARS HER PIECE, SHE SAYS PLENTY!
BY NANETTE RDTNER
EVERYBODY talks about Miriam Hopkins.
They say she invited a group of writers to her
home, and walked out before they arrived. They say
when a newspaperman paid a call she sent her chef
to the door, her chef, with a carving knife in one
hand. They say she snubs her old friends. They say
she is a shrewd business woman. They say when
she was broke ...
But no one says more than Miss Hopkins. She
says :
Her neighbor is Norma Shearer, but she has never
seen her on the screen. Neither has she seen Shirley
Temple. For'^she rarely goes to pictures. She says
she sees about five a year. Maybe this is a pose.
26
It's footlights and
not Klieg lights
now, for our star
is in "Wine of
Choice," on Broad-
way.
\
Miriam appeared in a New York restaurant
wearing her adopted son Peter's (above) blue
beret. Reviewing her husbands must make
Miriam feel like Peggy Hopkins Joyce.
She says she met Anatole Litvak, her present husband
(number three) on the Normandie. She met him by the
simple expedient of picking him up !
"At the bar. We knew a lot of the same people."
She says he is a great director. And she points to
"Mayerling" as an example of what he did for Danielle
Darrieux.
"But he directed my worst picture." She says that also.
She says husband number two, Austin Parker, the play-
wright is living in her California home.
"Writing a play, while I'm East."
However, she disliked the mention of Actor Brandon
Peters, who was husband number one.
"It makes me sound like Peggy Joyce. Besides, we
were only married a couple of months anyway. In Chi-
cago, when we were kids."
HUSBAND number three had just sailed for Europe.
"And I couldn't see him off. I had to rehearse. But
he'll only be gone a month. And to tell the truth, I'm
relieved. I knew he was dying to see New York. He's
Russian, you know. We had only been here once before
together, for ten days last summer during one of those
hot spells. Now, this time, I have to stay home to study
my part so he'd want to help me, poor darling. He'd sit
around trying to be considerate. And I couldn't memorize.
I can't learn in front of anybody. I hke to walk around,
to act all over the place, to talk to the furniture! My
butler is used to this. He's been with me five years and
knows me better than my husband. I can't just sit still
and learn a part, then it sounds mechanical, like a phono-
graph record."
As to "Gone With The Wind," she says she would
have loved to have played Scarlett.
"It's a fat role for any actress. But, although I got
votes from every section of the country, although shop
girls, hairdressers everywhere, they all stopped me and
asked me to play her, although even my mother says I
should have done it because we're from the South and her
name is the same as Scarlett's mother, Ellen, even with
all those reasons I can only tell the truth. I've never
been asked. I just wasn't invited to the party."
SHE DOES tell an amusing story about it. One of the
Hollywood producers gave a small dinner for the Dean
of Columbia University. Eight guests were invited. And
Miriam was one of the eight.
"Remember," warned their host, "no shop talk. This
man isn't interested in pictures."
So the conversation carefully touched upon music and
books and new methods of education, until the Dean
astounded everyone by turning towards Miriam to ask,
"And whom do you think should play Scarlett O'Hara?"
There was an embarrassing silence. The Dean, un-
aware that Miriam had been mentioned as a possible
Scarlett, waited expectantly. The guests snickered. One
catty woman, certain Miriam longed to play the part, went
so far as to echo the Dean's question with a mocking.
"Yes, Miss Hopkins, whom do you think should play it?"
This was a difficult moment. Miriam cleared her
throat. And she plunged into what she honestly believed
was the truth. She said she thought the producer would
select an unknown as he must naturally want to build a
star for himself, but she hoped, when he did choose that
unknown, he would pick an actress with plenty of stock
experience.
No sooner did she utter these words than "Gone With
The Wind's" producer, David Selznick. entered the room.
There was an awkward silence, broken by the Dean
who cheerfully greeted Mr. Selznick with, "Miss Hopkins
has just been telling us whom she thought oueht to nlav
Scarlett O'Hara." ^
"Every actress in America has {Continued on page 78)
27
i he Gary Coopers (above) have just bought a
ranch in Arizona to make up for the tramp-
steamer trip they had been planning. Their new
daughter has upset those plans temporarily.
Gary, all done up for "The Adventures of
Marco Polo." Coop is one of the few actors who
never wears make-up. He has that type of skin
which photographs better without grease paint.
GEHING A GLIMPSE
OF GARY
BY IDA ZEITLIN
OUTSIDE AN office building on the United Artists lot,
a group of men were appraising the points of a shiny
new sedan. One of them in slacks and sports coat, a
white tie doing service as a belt, said little. But his eyes
dwelt lovingly on the maroon beauty, glittering like a
dragon in the sunlight.
"Gary," called a voice from a window above. He
looked up. "How's the offspring?"
A slow smile crinkled the corners of his eyes. "Fine."
"New car for her?"
The smile deepened. "And her mother," was all he
said, his lips closing with good humor but finality over
some pleasant secret of their own.
The Cooper legend paints him as shy and inarticulate.
These adjectives cover him roughly, in the manner of a
shapeless garment, without revealing him. Talk to him
about horses or cars or a new haunt for duck-shooting, and
you'll find him articulate enough. If his tongue wags less
than most, he can also pack more meaning into fewer words.
Instinctively, he keeps his hands off the personalities
COOP WON'T TALK, EOT HIS FRIENDS WILL-AND THEY GIVE YOU ALL THE LOW-DOWN ON HIM.
of others, instinctively he keeps the hands of others oflf
himself. It's the policy of live and let live, applied in
spirit as well as letter. Get any of his associates talking
about him, and within two minutes you'll hear with
monotonous uniformity, "Coop doesn't dish dirt."
The appearance of distinguished visitors on the set is
the signal for Cooper to disappear. He will greet them
courteously and seize the first opportunity to escape.
Later he will be found deep in a discussion on amperes
with Bill, the electrician. He bears no grudge against
visiting bigwigs. He hates to fuss or to he fussed over,
and takes the obvious method of avoiding both.
His vanishing act, even when there are no visitors to
elude, makes him the despair of assistant directors.
"Where's Coop?" the cry goes up. Coop is in a remote
corner, drawing cowboys and Indians and dreaming him-
self among them. Or Coop has ambled off on his bike
to pay Bing Crosby a visit. Or : "Any beds around ? Look
for the nearest bed, and you'll find Coop." Cracker Hend-
erson, his handy man and entertainer-in-chief, is also the
sleuth, self-appointed, to track Cooper down when he dis-
appears. He does the job conscientiously, secretly con-
vinced, however, that in a well-adjusted world a boss like
his would be allowed to do as he pleased.
Cracker, of the Georgia Crackers, was one of the
legion of Hollywood extras who {Continued on page 74)
YES, THERE'S A VERY GOOD REASON FOR THAT SHYNESS, FOR WHICH GARY IS NOTED
29
If
The studio dreamed up Priscilla's
and Wayne's romance, but they
themselves made it come true.
m
WHAT-A-MAN
MORRIS
BY GLADYS HALL
IS WAYNE KEEPING HIS LAST DATE-OR WILL
HE CONTINUE TO REIGN AS HEAD LADIES' MAN
I
AND HEART-COLLECTOR IN HOLLYWOOD?
J
YOU — YOU hit me, you unspeakable brute!" wailed a
piteous feminine voice and the piteous feminine voice
came, I could see, from the slender blonde person of
Priscilla Lane, cowering on the floor, and the "unspeak-
able brute" was Wayne Morris, towering over her, threat
and thunder in his blue eyes. And then Director Stanley
Logan called, "Print it !" and Wayne shouted lustily,
"One-Take Morris and One-Take Lane !"
Priscilla got up off the floor, assisted by the eager hands
of Wayne and the two stood there together, laughing,
Ijrushing each other off, admiring Priscilla's black eye,
administered by Wayne and it looked like love, oflF the
set as well as on.
Is this man Morris "hearting" again? If so, What-A-
Man-Morris is the most masterly understatement ever
made. Is it the caveman in him which has made him so
super-successful with the ladies? Is he the "unspeakable
brute" at whose feet the ladies cower, the while offering
up their hearts? For certainly this blond young giant,
standing six-feet-two in his stocking feet, weighing 190
pounds, tracing his ancestry back to that blond giant of
the 10th Century, King Olaf, has captured more Holly-
wood hearts than have Robert Taylor, Tyrone Power
and Jimmy Stewart combined. And their belts are jiot
exactly denuded of some of the best scalps.
For Wayne, as you may know, has been rumored and
reported as "hearting" with such belles as Nan Grey,
Cecilia Parker, Eleanor Powell, Lana Turner and others.
And now, for the past couple of months, his name has
been linked exclusively and quite seriously, with Priscilla
Lane. Priscilla, one of the Lane sisters, featuring Lola
and Rosemary, seems to be following more or less in the
Morris footsteps, having been signed to a long-term con-
tract after her first picture, "Varsity Show."
I've heard people say, "This Wayne Morris, what's he
got? He comes to town, is practically a star overnight,
walks off with the best dates in town, how's he do it?
What is it?"
Of course, there are the obvious factors of the six-feet-
two, the 190 pounds, the warming-the-cockles-of-your-
heart grin, the animal spirits which are as contagious as
healthy fever, if there were such a thing. But even these
are not enough to explain the swift, sure way in which
young Wayne has wowed this wow-weary town called
Hollywood. For the goodly institution called the Ameri-
can home, the colleges, the small towns, turn out six-feet-
two young men, weighing 190 pounds, demons on the
diamond, hellions on the hockey field, rascals with the
racquet, by the gross. And of the gross only a scarce few
ever reach the Hollywood studios at all and of the scarce
few only a rare Wayne Morris ever lays low the citadel.
So, what is it?
Well, be prepared for an expose of Wayne Morris,
offered by none other than Priscilla Lane, who reveals
the why and the wherefore of Wayne. And if you can't
get the answer from his best girl where would you be
able to get it ?
For shortly Wayne and Priscilla came off the set of
"Everybody Was Very Nice" (the final scene of which
I had just witnessed), in which they are being teamed,
the first teaming, I gather, of many, for their next will be
"Men Are Such Fools," in which, again, they will play
a young married couple. "We're married in this picture,
too," Wayne said, and his eyes told more than his words,
for his eyes said that there was something very good
about being married to Priscilla, even in pictures.
I said to Priscilla, then, "Tell me, honestly, what is
this man all about? What is the secret of his power
over wimmin ?"
"I'll fix you," laughed Priscilla. {Continued on page 80)
31
IT'S BEEN TOO EASY
BY MARY
P A R K E S
WITH MONEY TO BURN, OLIVIA Be HAVILIANB CAN'T BUY WHAT SHE'S LOST THROUGH SUCCESS
PEOPLE have been saying recently, that Olivia de Havil-
land is thinking seriously of abandoning the screen, for-
saking her young career, which is mounting like a comet
charged with dynamite.
"She's going to quit pictures," they've said. But why
should she? A girl, just a pretty, well-bred girl who
came to Hollywood from the sleepy little hamlet of Sara-
toga in northern California and played Hermia in Rein-
hardt's "Midsummer Night's Dream" and then signed a
contract with Warners and is sf>oiled and petted and given
the ripest picture plums on the lot, she should leave the
screen !
Supposing Olivia should fool us? There is something,
disturbingly definite about Olivia. Her beauty on the
screen may be maidenly and misty and dusted with the
pollen of shrinking sweetness and suggestive of the soft
pliancy of the clinging vine, but there is nothing of the
clinging vine about the mind of Olivia, nor about her
character.
The idea was so intriguing that I went to the Busch
Gardens in Pasadena, where the "Robin Hood" company
was at work. A sunny afternoon of green and gold and
the pennants of the knights flying from their tall poles
in the jousting field, and Olivia as Maid Marian Fitz-
walter, in blue and silver robes, headdress and all, more
beautiful than the dreams for which Knighthood went
into Flower. Claude Rains and Basil Rathbone ranged
to the left of her, a page boy kneeling to her, proffering
a, golden arrow on a royal blue satin cushion, Errol Flynn
waiting to receive the ominous favor from her lily-white
hand.
As soon as the company was dismissed, we had tea.
Olivia had changed, very hastily, from the blue and silver
robes of the Maid Marian Fitzwalter into a green and
brown checked skirt, a white silk shirt, scarf tied round
her head, a fur coat, not very new, and she looked like
any high school girl, an exceptionally pretty one, of course,
going out for a sundae after classes. She looked much
more likely to be carrying a bunch of books strapped
together than a script or a make-up box. And she rode
in a little roadster, waving off the studio limousines, the
maid, the customary retinue and poinp and ceremony of
a star.
And Olivia, off the screen, looks rather different from
the way she looks on. It isn't that her beauty is less, it's
that it's different. Her eyes, so dark and brown, are
alive and alert and meet your eyes, squarely. She talks
emphatically and honestly and {Continued on page 106)
Basil Rathbone
isn't too dignified
to hook Olivia's
skirt and the cam-
eraman catches
him at it!
M M /i
OM WILL TYRONE
POWER MMY?
A reading of Tyrone Power's chart by our
expert astrologer reveals some startling
facts about this popular actor's future.
TYRONE POWER has them guessing out in Hollywood.
First he went with Sonja Henie, till she travelled away
for a visit to the Old Country. Then he fell for Janet
Gaynor, while Sonja was dreaming of him on the high
seas. Consequently, the buzzing is terrific. Is he going
to marry? Is Sonja heartbroken? What are Janet's
intentions toward him and vice versa?
Let's look at the triangle from the stars, and see what
clues the three horoscopes yield about the tangle that has
Hollywood guessers on the run.
To begin with, Tyrone belongs to the romantic sign
Taurus, and Taurus men are hard to catch. More ac-
curately, they are hard to hold, especially in their younger
years. They will fight back with all their much-mooted
stubbornness, if you tell them they're fickle, or philander-
ers. But ask the girl who owns one ... or thinks she
does.
Venus, planet of love and beauty, rules Taurus, giving
her favorites glamor and an aura of romantic appeal.
When Venus inhabits the sign Gemini, as she does in
Tyrone's horoscope, the glamor isn't diminished. It
sparkles and shines and glistens, but it is loath to settle
down and focus its light permanently on even the most
beautiful pair of feminine eyes in the world.
With the Sun in Taurus, square Uranus and Jupiter
in Aquarius, and Venus in Gemini square, his Moon in
Virgo, Tyrone goes into a love affair with all the fervor,
all the ardor, all the sincerity in the world. Find a man
with this combination, you girls who want a thrill, and
you'll discover something about the fine art of love —
Why has Sonja Henie been able to
maintain Ty's interest?
34
SINCE THE STAR HIMSELF HAS TURNED SHY,
WE'VE CALLED ON THE STARS FOR THE ANSWER
DY GRANT LEWI
Tyrone Power has been linked romantically
with Sonja Henie and Janet Gaynor. Will
he marry one of them?
while it lasts! And when it's all over, though your
heart may he broken, you'll never for a moment think
that it wasn't worth it. You'll go to your grave glowing
with the beautiful moments. This is rather trying on the
man you may eventually marry, who has a pretty high
standard to live up to.
Remember this when you think about poor little Sonja's
allegedly broken heart, coming back to America to learn
that her sweetheart had been (and still is) tripping hither
and yon with red-headed Janet Gaynor, who is competition
for any girl.
If Sonja had known her astrology, she would have
taken Tyrone to Norway with her, and shut him up in a
cave while she went to visit the old folks. But even the
cold of the northland might not have kept his love on ice —
and certainly not if Janet Gaynor had appeared on the
scene.
There are very special attractions between Janet's
horoscope and Tyrone's, which Sonja's charm could not
have overcome, even if she had stayed on deck and kept
her eye on the boy friend.
It's interesting to note that with Tyrone's Sun in
Taurus, both these girls have their Moons in Taurus.
That's an attraction, to begin with, and a very strong
one. But it doesn't insure the delivery of a wedding ring.
It's a nice brother-and-sister, palsy-walsy kind of attrac-
tion. If other less spirituelle and more earthly attractions
conspire, this makes a fine basis for marriage. In itself,
however, it doesn't promise anything.
Also interesting is the fact (Continued on page 76)
What crttracted Power to attractive
Janet Gaynor?
35
PROFESSIONAL MARRIAGE
THE PREACHER MADE THEM ONE, BIIT ANNE AND JOHN ARE INDIVIDHALS WITH IDEAS OF THEIR OWN
OURS," SAID Anne Shirley
(Mrs. John Howard Payne, to
you), happily, "is a professional
marriage. Perhaps I should say it's a marriage of two
professionals. Sounds better, doesn't it ? Anyway, we met
as professionals, fell in love as professionals, became en-
gaged as professionals and will live happily ever after
as professionals.
"That's the way we want it to be. Our mutual interests
are, first of all, in each other, in Anne and Johnny, not as
Mister and Missus, not even as picture players, just us.
Our mutual interests, otherwise, are in scripts and stories
and parts and contracts and progress, and these interests
can be just as deep and satisfying as if our interests were
rooted in building a wing on the old homestead or plan-
ning new linoleum for the kitchen floor. I'm sure Johnny
wouldn't get half so much satisfaction out of my making
the biscuits 'that mother used to make' as he got out of
my performance in 'Stella Dallas,' which he was proud of !
"I feel sure that I can be just as good a wife to Johnny
in greasepaint as I could be in a bungalow apron. At
least, I'm the way I was when he fell in love with me and
he's the way he was when I fell in love with him."
Now, here is something new under the sun, the moon
and, especially, the stars. For years, Hollywood brides
have made statements to their public. Glamorous ones,
fresh from the altar, declare, "Now that I am married
I shall be more wife than star; I shall stay in the home
BY MARTHA KERR
as much as possible ; I shall prob-
ably give up my career in time."
They continue, deceiving no one
but themselves and not even deceiving themselves for very
long.
"But no," Anne was saying, looking very little more
than a child, in her yellow slack suit, tailored and slim,
her russet-red hair curling loosely in a long bob, her russet-
brown eyes as bright with happiness as any eyes I've ever
seen, "we're not going to sink into any domestic routine.
We don't want routine or responsibility. Marriage isn't
going to change this pair of friends. We want to keep
on having fun and we do have fun, lots of it. We go with
the same crowd we've always gone with; we all do the
same things as we've been doing.
"We don't want a house, Johnny and I, rented or
bought. And we haven't got one. \Ve're living in the
apartment Johnny Hved in before we were married. We
want to be able to walk out of the front door and lock it
behind us and go away when we feel like it and can get
away. There are so many things we want to do, adven-
tures and experiences we want to have. We want to go to
New York as often as possible ; we want to go to Honolulu
and to the South Sea Islands.
"We want to discover new places. We want to have
thrills and fun. If anyone should ask me what the leit
motif of our marriage is, I'd say, fun. We don't take life
seriously in the sense that we {Continued on page 84)
"In spite of Hollywood,
I hope to find the hap-
piness of sharing my
life with someone I
love and who loves
me in return," declares
Brian Aheme.
ELIGIBLE BACHELOR
FAITH SERVICE
I AM the most eligible bachelor in Hollywood.
I'm the most eligible bachelor you ever met in
your life. And I want to get married."
Brian Aherne speaking, and looking just as
he's always looked, with his disconcertingly blue
eyes, his lean tallness, his slightly crooked smile.
But underneath the familiar exterior, how that
man has changed ! In the first place, he was
supposed to be difficult to interview. Yet here
we sat, in a lovely walled garden, with Mr.
Aherne stretched out in a deck chair in the sun.
He was wearing gray slacks and a polo shirt
with a scarf knotted at the throat and he looked
devastatingly handsome. Nor was he the strange,
bookish, aloof chap we'd been told to expect.
He has the reputation in Hollywood of being an
"escapologist." But that's because he never
signs a contract for more than one picture at a
time, and because, up to now, he has never taken
timeout for romance. The thought of domesticity
and its subsequent ties always frightened him to
such an extent that he'd run the other way. True,
he went dancing with Marlene Dietrich and
Katie Hepburn and Merle Oberon, but nothing
serious ever came of anv of these mild flurries.
He was too elusive, too fond of his freedom.
Ohvia De Havilland is rumored to be his cur-
rent heart and though, in all probability it isn't
serious either, for the first time, Mr. Aherne,
himself, is. And, which is even more startling,
he's willing to talk. About himself. About his
hopes and plans for the future. He doesn't
want adventure and excitement and constant
change an3'more. He's tired of it. Tired of
living in a trunk. He wants to settle down.
So he said, frankly and honestly, "P want to
get married. I want a permanent home of my
own, built on land that is my own. I want rovi-
tine, children, responsibilities. I want to unpack
my trunks and stay put. I'm sick of making
dates, going places, making more dates, going
other places."
"Perhaps," we ventured, "you wouldn't really
like it once you were really settled. You've had
so much adventure in your life." And he really
has. you know. Born in Kings Norton, Wor-
cestershire. England, some thirty odd years ago,
Brian De Lacy Aherne always had an eye on
distant places. All through his school years at
Hallfield and at Malvern (Continued on page 110)
BRIAN AHERHE WANTS TO GET MARRIED, GIRLS-BUT HE'LL BE HARD TO PLEASE i
When Beverly smiles, she's ra-
diant. And she smiles a lot,
the reason being she finds life
so much fun.
Beverly's an avid reader and
all she has to do when she
wants a book is call down-
stairs to the lending library.
When Director William Keigh-
ley opened a gas station re-
cently, Beverly offered to give an
autograph with every gallon.
If you plan to call on Beverly
Roberts, you'll have to look
twice to find the place, because
it hides behind a lending library!
IT'S FON TO BE BROKE!
WHAT SHE HASN'T GOT DOESN'T WORRY BEVERLY ROBERTS,
BECADSE SHE CAN ALWAYS SING FOR HER SUPPER
BY FRANC DILLON
UP AND down the boulevard we
rode, looking for Beverly Roberts.
Not that we expected to find her on
the street, but we couldn't even find
her house.
"It's a tiny place," she had said,
when telling us where to find her,
and she proved to be so right that
we passed it several times. This was
due partly to the size of the building
but more on account of a sign over
the gate reading : "Lending Li-
brary." And whoever heard of a mo-
tion picture star hiding behind a
lending library? Finally, by a pro-
cess of elimination, we located Bev-
erly in the apartment above it.
At the top of the stairs was a
large room, a charming room, with
a fireplace at one end and a huge
window that I'eached to the ceiling
at the other. In front of the window
was a wide studio couch which,
dressed in a colorful chintz cover,
served as a divan in the daytime and
as Beverly's bed at night. The pic-
tures on the walls were well chosen
and the books on the shelves looked
as though they had been read and
re-read. There were flowers all
about the room and a tea tray, loaded
with things to eat and drink, was
resting conspicuously on the floor.
The presence of a representative
from her studio publicity depart-
ment, to keep Beverly from talking
too much, was a needless precaution.
She never stopped talking long
enough for anyone to ask questions
and it would have been useless to try
to stop her. Besides, no one would
want to, for her chatter is amusing
and entertaining, frequently hilar-
ious.
She had lived in the apartment but
two weeks, and was buzzing around
nervously, patting a pillow, rear-
ranging one of the three chairs or
straightening a picture.
"I've learned how to turn around
without knocking over the other half
of the {Continued on page 113)
39
You'll learn a grand
trick from Carole Lom-
bard, who insists all
hands can be lovely.
A change in hair-do can give you a new per-
sonality, but let Luise Rcdner issue a warning!
There are certain details you mustn't overlook,
too, if you would possess silken tresses.
MOVIE-STAR
BEAUTY FOR YOU
BY MIIRY MARSHALL
MAYBE I'M just an incurable old optimist to go on be-
lieving that every girl in the world can be at least attrac-
tive, possibly pretty and perhaps a distinctive beauty. But
every time I consider the movie stars, I'm more and more
convinced that some sort of beauty is possible for every-
one.
If that sounds like nutsy reasoning to you, wait a min-
ute : the stars were all basically good-looking to start with,
but look how much they've improved upon that "basically"
business. I can, offhand, think of only three girls in
Hollywood who are authentic beauties, without benefit of
make-up and fixin's. They are Dolores Del Rio, Virginia
Bruce, and Madeleine Carroll.
The rest of the whole tribe are pretty, sexy, charming,
brimful of personality, smart, but not authentic beauties.
A few years back, most of them looked little more, like
their present day selves than Charlie McCarthy looks like
Shirley Temple. They've become better looking people by
virtue of knowing clever make-up, by taking pains .with
themselves, by playing up their good points and minimiz-
ing their bad ones. 'Tis this lesson in beauty, the movie
star way, which I wanna drive home to you.
Let's start at the top with a certain pretty movie gal's
hair. I've picked Luise Rainer, which may surprise you.
I picked her because she's not a vivid blonde, a fiery red-
head or decided brunette. She's a dark brownette, like
millions of girls. Most of these millions pine and sigh
Morjorie Weaver's eyes
are sumpin' to behold
but she has problems
that may worry you.
For the last word in un-
derpinnings, we nomi-
nate Danielle Darrieux.
Yours can match 'em!
SO YOO THINK YOU'RE AN OGIY DUCKLING?
WELL, YOU NEEDN'T BE IF YOH TAKE A TIP
FROM STARS WHO KNOW BEAUTY TRICKS
for more vividly tinted locks. A goodly percentage re-
sort to the dye bottle without ever considering whether
or not a change in hair color will be becoming to their
general tyj>e. So many dark brownettes, figuring that
their locks are never going to turn any heads and break
any hearts anyhow, neglect their hair on the "it's not
worth fussing with" principle.
I wish all these girls could see the little Viennese star's
hair ! The lights in it, and its silky texture, and its adap-
tability to any change in hair-do Luise cares to make.
This last virtue comes from basic care like daily brushing,
thorough, but not too frequent shampoos, and intelligence
where permanents are concerned. And speaking of
changes in hair-do reminds me that I have something to
say on that subject.
PARIS AND the flossier hairdressing maestros, or is it
maestri?, say that "hair is going up." The page boy bob
must go ! That's the battle cry of the hirsute trade. Also
the classic movie star bob, you know, practically shoulder
length and all fuzzed out on the ends.
Well, my feelings are divided and I want to ask you to
consider good and well before you make a change in
hair-do. Some of the new styles are charming, true. Soft,
flat curls are piled high. There's the French twist eflfect,
a simulated roll up the back of the head, the hair all
brushed smooth as glass over and into this roll. Hair is
of? the neck, oflf the ears, and up on top of the head,
where our mother used to wear it. It is held in place
with ingenious little combs. These new coiffures demand
that the hair be in good condition, (Continued on page 90)
so YOU'VE saved $500., and you
can do with it anything you choose?
You're wondering what the best in-
vestment of your money would be.
So many people have wondered, par-
ticularly since the depression hit the
country. Investments that had been
considered safe were suddenly worth-
less. Banks crashed; bonds and
stocks became so much paper; real
estate dwindled in value. And the
very people who had been most far-
seeing, who had looked ahead to a
safe, secure future, found that there
was no such thing as security any
more.
Now, people are again wondering
just what is the safest and wisest way
to invest their money. Each of us has
his own pet theory. The other day I
asked a group of stars to tell me what
each one considered the best invest-
ment he had ever made.
Robert Taylor's best investment
came when he scraped together
enough money to leave Doane College
in Nebraska, and to accompany his
'cello teacher to Pomona College in
California.
"It was the first long trip I'd ever
ventured," Bob said. "And it took
weighing back and forth to decide
whether it would be worth while.
Fortunately, Mother and Dad did not
object, and I left. Later at Pomona,
I went in for amateur theatricals,
and was seen by a motion picture
scout.
"When I left Nebraska, movies
were the thing farthest from my
mind, since my interest was chief-
ly in the higher branches of
music. Had I decided to remain
in Nebraska and content myself
with whatever music lessons I
could get there, Robert Taylor
wouldn't be in pictures. Another
fellow, Arlington Brugh, would have
been studying medicine, having no
idea what he'd missed."
AS THE best investment of his life,
Ray Milland selected a ten-months'
spending orgy in the capitals of
Europe, which resulted in the loss of
a $17,000. inheritance, which had
been unexpectedly left to him by a
maiden aunt.
If he had been wise and conserv-
ative, he could have lived for years
on this income. But because he wasn't
wise, when his money had all van-
ished, Ray was faced with the neces-
sity of earning a living.
He was in a quandary. Here he
was in England with no money to
his name, though only a short time
before he'd been living like a million-
aire. He knew he'd have to find some
kind of work, but what could he do?
Jobs were none too plentiful.
One day someone he had met dur-
ing his (Continued on page J 00)
1 4. ^ >
Deanna Durbin's fifteen years old and the party's on! There's a birthday cake and special entertainment
and flowers and Herbert Marshall, who is helping out with a little applause.
It's fun to have a birthday, Deanna thinks, as
who wouldn't at her age! She's being con-
gratulated with considerable enthusiasm here
by Virginia Weidler.
With Mother and Dad. And from the beaming
smiles, we'd say Mr. and Mrs. Durbin are a
couple of proud parents! Deanna's every bit
as tall as Mother.
Lucky Deannal It isn't every fifteen-year-old
who can rate a birthday kiss from Bart Mar-
shall and from her expression, it looks as
though little Miss Durbin knows it.
And still the gifts are heaped upon her! The young
on the screen. Could he have sent
Producer Joe Pasternak presents Deanna with
a shining new bicycle, so from now on, it's apt
to be hard to keep track of her. Notice the doll,
dressed exactly like the star, even to its hat.
man beside Deanna is Jackie Moran, her romance
the lovely flowers? He did indeed.
Like every millionairess, Shirley has
her private yacht. Here she is cruis-
ing around her pool.
There is practically no outdoor sport
that doesn't interest Shirley and
medicine ball is among her favorites.
BOX OFFICE BABY
YES, THE LITTLEST STAR IS STILL
THE BIGGEST MOVIE MONEY-MAKER
Better watch out. Gene
Autry! Shirley's ready to go
"Western" any minute now.
Then, there's the saddle.
When Shirley means busi-
ness, she goes into detail.
Spunky may not be as big
as Gene's Champion, but
Shirley says he's as fast.
CAROLE
"CARRYING
ON"
THERE'S NEVER fl DEL MOMENT
ON THE SET WHEN LOMRJRD IS
AROUND TO MAKE THINGS HDM
The end of a perfect day, and do
Carole's dogs ache! It's all part of
the plot of "Food For Scandal,"
starring Carole, Femand Gravet
and Ralph Bellamy.
A four o'clock coke. Carole works
twelve hours a day, six days a
week on this picture, and all for a
mere truck load of good old
American dollars!
Says Bellamy, "You've got to take
your rightful place in society as
my wife, or else!" Says Lombard.
"Or else what?" And the fight is
on, and how!
Somebody tells a story and Carole
loves it. but Director Mervyn
Leroy's heard it before. "Food For
Scandal" is Lombard's first Warner
picture and Leroy's last.
While their stand-ins work, Carole
and Bellamy enjoy a bit of rest
and a wisecrack or two, judging
from their expressions. Miss L. is
noted for her sense of humor.
Nothing like a cigarette to pep
you up for the next scene, de-
clares Carole. Bellamy however,
is more in favor of the proverbial
forty winks.
49
Gable meets dog. The lady at the right
brought this English Sheep Dog on the
"Test Pilot" set and Clark bought it for
Carole Lombard for Christmas.
After the formal introduction, it would
seem that Mr. Dog had taken a fancy to
Mr. Gable. Imagine his enthusiasm when
he laid eyes on lovely Lombard!
TESTING FOR "TEST PILOT"
"We would have to work on a day like
this!" Tracy speaking and Clark agrees
he'd much rather be on that hunting trip
they've been discussing.
Myrna Loy. chic and charming as ever,
relaxes with a cup of tea in her dressing
room after hours of hard work under hot
Klieg lights.
Meet Mr. cmd Mrs. J. Walter
Ruben, immediately after the
ceremony at the Ruben resi-
dence. That's Virginia
Bruce's little daughter, Su-
san Ann Gilbert, with them.
Immediately after this pic-
ture was snapped, the bride
and groom dashed off to
dress for the elaborate re-
ception held in their honor at
Jack Warner's home. Mrs.
Warner and Dorothy Di
Frasso were co-hostesses
with Kay Francis doing her
share to help things along.
Virginia and her new hus-
band had such a grand time
at the reception that they
didn't leave ^until six a.m.
Pictured here are Mrs. Bert
Taylor, Ruben, Virginia and
Bert Taylor. In the back row
are Kay Francis, Jack and
Mrs. Warner. Unlike most
bridal couples, the Rubens
didn't stop with the recep-
tion! The next day it was
tennis and a big cocktail
party at the Alfred Vander-
bilt's and still later that
night, dinner at a nightclub!
WEDDING
BELLS
HERE COMES THE BRIDE AND
VIRGINIA'S FILMDOM'S LOVEUEST!
52
A veteran at it. Bing Crosby, who never asks
his friends to bet on his own horses, places a
couple of bucks on one he hopes will win.
Ginger Rogers was so excited she couldn't eat
any lunch so she's fortifying herself, before
things begin, with a big, red apple.
More pictures on Page 88
55
The fact that Clark Gable and Spencer
Tracy are being co-starred in "Test Pilot"
brings to mind the fact that they both got
into pictures by playing the same part. On
Broadway, several years ^go, Tracy played
the hard-boiled prisoner in "The Last Mile."
He was signed up for the movies and he's
been doing right well for himself ever since.
In a road show engagement of the same
play in Los Angeles, Clark Gable played
the role Tracy created. You know what
happened to him.
At a popular night spot recently, Sonja
Henie and partner went into a rumba. In
the middle of it Sonja lost her balance
and landed flat on what people land on
when they land. "I think," said Sonja,
"I stick to my skates — yah?" Yah.
Acccirding to her studio publicity depart-
ment, Ilona Massey, the young lady who
scores a hit in "Rosalie," is most enthusias-
tic about her work. She phones the studio
every morning at five, says the report, "just
to see if everything is all right." Sample
conversation at five a.m. in Culver City:
Switchboard Girl — "Good morning — M-G-M."
Ilona Massey — "Hello. Is everything all
right?" S. G.— "Yes." L M. — "Thank you.
Goodbye."
Studio prop departments can make any-
thing they build look real, but we never
saw the perfect tribute to their art until
one day recently on the set of "Test Pilot."
Clark Gable had just bought an English
sheep dog — a gift for Carole Lombard.
The hound seemed very happy about the
56
Marlene Dietrich
and Michael
Brooke sit this one
out together.
GOOD NEWS
BY LEO TOWNSEND
HERE'S WHAT YOUR FAVORITE STARS ARE
DOING AND SAYING THESE DAYS AND NIGHTS
Kay Francis and Delmar
Daves do a little fine and
fancy tripping.
Flynn and Damita defy those
divorce rumors with broad,
defiant grins.
transaction, jumping all over Mr. G. and
bouncing around his dressing-room. But
the moment about which we started to
tell you came when he spied a prop tree
on the set. The perfect tribute!
Information Dept.: When Basil Rothbone's
twenty-year-old son, Rodeon, come over from
England to spend the holidays with his
father, everyone wondered where he ac-
quired his unusual name. From a spy, sta-
tioned in the Far East for just such an
emergency, we learn that Rodeon is Russian.
It means First Born.
An item in a Hollywood trade paper re-
ported that Lili Damita had taken an air-
plane trip for an unknown destination, and
that Errol Flynn didn't know and didn't
care. What made the whole thing confus-
ing was that Miss Damita read the item
the same evening — while having dinner
with her husband ! That's the way those
things happen in Hollywood.
Hollywood Affluence Dept.: Grover lones,
the writer, bought six sheep — to keep his
imported English sheep dog company. And
when he can't sleep Grover can count
'em!
Modesty Item : It's been so long since
Claudette Colbert wore a bathing suit in
pictures that when she was required to slip
into one for a scene in "Bluebeard's Eighth
Wife" she blushed and ordered the set
closed. Only audience was Gary Cooper,
the camera and the crew.
Since Broderick Crawford's success in "Of
Mice and Men" on Broadway, his mother,
Helen Broderick, talks of nothing else. So
now, on the set of "Radio City Revels," her
name has been removed from her dressing-
room door. Courtesy of Jack Oakie, it now
reads: "Broderick Crawford's Ma."
Bob Baker is Universal's top cowboy
star. After his first picture or two the
studio was so pleased with its new Western
hero that if was decided to give him act-
ing lessons, just to polish up his histrionics.
So he went to a studio dramatic coach,
spent a month under her tutelage — and em-
erged with a Harvard accent! Since then,
it must be reported, the dramatic coach
has left for other fields, and Mr. B. has
been thoroughly untrained.
loan Davis' four-year-old daughter is fast
becoming the most quoted young lady in
town. The other day, she ran into lane
Withers. "Say, Joan," said Jane, "are you
really gonna have a part in 'Rebecca of
Sunnybrook Farm' with Shirley Temple?"
"But certainly," said Beverly, looking down
her pug nose at Miss Withers. "I'm Shirley
Temple's personal comedian!"
Recently, on a Palm Springs jaunt with
her parents, Shirley learned how to dive
for the first time.- Asked how she liked
it, .Shirley said, "Oh, I like the diving
fine. It's the stomach aches I get tired of."
We hear that Judy Garland has switched
her affections. Definitely this time, accord-
ing to the following conversation overheard
with her former boy friend, Mickey Rooney,
at the studio soda counter. The name of
Ronald Sinclair came up — which it's been
having a way of doing with Mis»G. lately.
"Well, I think," said Judy, "that Freddie
Bartholomew will be another Ronald Sin-
clair before long."
We don't know what's behind it, but
anyhow, Katharine Hepburn got out on
the set of "Bringing up Baby" one morn-
ing before Gary Grant. She tacked a big
sign on his dressing-room door : "Grant's
Tomb."
George Brent may be a ladies' man on
the screen, but his luck with the alleged fair
sex after working hours hasn't been so good
lately. Within a period of two weeks, he is
reported to have shelled out $37,000 to two
women, and merely because they once wore
the title of Mrs. Brent. When Constance
Worth divorced George she was awarded
$25,000 — and two weeks later, they say, the
government nicked him for $12,000. Ruth
Chalterton's income tax for 1935, when she
was Mrs. Brent. From now on, Mr. Brent is
apt to be pretty cagey whenever a gal gels
a serious look in her eye.
Good Deed Dept. : Janet Gaynor and her
mother called on a friend recently and
found him suffering with an annoying cold.
Next day Gaynor's chauffeur stopped at tlie
friend's apartment with a check for $150.00
and a note. Said the note : "The desert
calls — this check will be honored only at
Palm Springs."
57
When Myma Loy goes to
a preview without hubby,
it's news. A publicity
man was her escort.
Norma Shearer and Louis
B. Mayer arrive late for
the "Man-Proof" showing.
Mr. and Mrs. Bob Cobb
(she's Gail Patrick) take in
"Wells Fargo" preview.
Martha Raye Items: Martha's big love of the
moment is — furs. She has iust bought a mink
coat and an ermine wrap to add to. her collection,
and her new limousine has iur upholstery. Rea-
son she will be teamed with Bob Hope in future
pictures instead of Bob Bums is that many ion
letters complained that Burns was too old to be
Martha's romantic interest.
Couple, of months ago we reported an incident about an air
commentator who was mififed because Garbo had passed him on
the studio lot without speaking. The other day the commentator
phoned to say that he hadn't seen Garbo in three years, so what
about it? We beg the guy's pardon, wish him a happy St. Val-
entine's day, and hope he gets to see Garbo one of these days.
Jeonette MacDonald's tag line on that cold-preventative program
is " — and don't catch cold." When the singing star was absent
from the air for several weeks her sponsors reported she was
suffering from ptomaine poisoning. What Jeanette really had was
a very bad c-o-l-d.
The premiere of "Snow White and the Seven Dwarfs" drew
the biggest mink and ermine turnout since "Hell's Angels."
Everybody in town wanted to see Walt Disney's first feature-
length cartoon, and almost everybody, from the looks of things,
got there. The seven dwarfs entertained a gallery of five thou-
sand onlookers who were there to watch the stars arriving, but
the highlight of the evening came when Donald Duck pulled up
in a limousine with a liveried chauffeur.
Even the bootblacks go Hollywood out here. A sepion gent who
runs a shoe-shine stand on Hollywood Boulevard does his work
attired in frock coat, stiff shirt and a plug hot. He calls himself
His Royal Highness, the Duke of Hollywood, and you can get his
personal attention and a "Coronation shine" all for a dime.
{Continued on page 70)
I
MODERN SCREEN
GOINGS-ON
IN GOTHAM
B Y R 0 B E R T M c I L W A I N E
THE STARS ARE LOREE TO NEW YORK, WHERE
THE SHOWS, THE SHOPS, NIGHT-CLUBS AND
MUCH GAIETY FILL THEIR DAILY PROGRAMS
MOVIE STARS, like the traditional
music, go round and round, invariably
coming out in New York for a holi-
day. Fascinating as Hollywood may
be, its cinema citizens strive to spend
as much of their free time as possible
amid the stimulating influence of
Gotham's gaiety. And a whirl among
the bright lights of Broadway, with a
visit to the smart night spots, seems
to be in order during their brief city
sojourn. So, climb aboard and meet
your favorites while we take a ride
on the big Manhattan merry-go-
round !
Besides being the screen's finest
actor, Spencer Tracy gave evidence
of a pixie quality when he arrived in
town for a holiday recently. Spence
was here to have fun and one of the
locales he chose for it was the famous
Stork Club.
It seems that every Sunday eve-
ning that popular nightery puts on a
movie talent hunt in conjunction with
one of the major picture companies.
If you look like a picture possibility,
you're invited to take a test. If the
test "turns out," you're apt to land a
contract and before you know it
you're out in the land of sunshine and
soundtracks appearing with Tyrone
Power or Sonja Henie.
Well, to get on with the story, Mr.
Tracy decided that, just for a gag,
he'd "try out." And so, he parted his
Unembarrassed by those head-
lines which featured her in a
fracas at that swanky rendez-
vous recently, Grace Moore
goes night-clubbing with Hub-
by Valentin Parera again.
Loretta Young was in town for a
vacation and Bill Powell had just
returned from Europe, so they
got together for the Horse Show
at Madison Square Garden.
hair in the middle and plastered said
wavy locks close to his head. Then
he danced around the floor in full
view of the enterprising talent scout.
To his own amusement and everyone
else's chagrin, he was promptly
turned down. Finally Spence walked
up to the t.s. and said, "What's the
matter with me? Haven't I got
beauty ?"
Let it be here recorded that the
bright red rope, which separates the
sheep from the goats at the Stork
Club, was no redder than the talent
scout's face when he learned that he
had turned down Public Thespian
No. 1, for a movie test!
Speaking of night clubs and em-
barrassing moments, Grace Moore
came in for her share of both at a
recent Sunday visit to El Morocco.
Seems that Gracie was entertaining
her party by telling them a Donald
Duck story related to her by Law-
rence Tibbett. The show was on and,
in order to be heard above it. Miss
M. raised her voice and continued
the tale, much to the annoyance of
{Continued on page 121)
59
0«JR
V/elU Fargo
a to the average theatre B ^^immings, a
are furnished by r supervising it « personal his-
moments are ^ ^ -phe ]ob ot ''i ^cCrea), and tne pci „• ^^^e
liii^iiiiii
tin^'^fa Telreshfng'^rand of bunior to
U^yA.—Paramo^lnt.
Love and Hisses
. Bernie ^os. ^^^^^
Walter WincheU and Be^^ f ^^rUst^ras^ ,3
'^^"^^""eVeSone" ho"gw their openin| -.e^^ r/loth'Bernie
P^ThVlSe^Sinione Sinion^^^^^^^^ their
Yvette Y^;ette, she « a ^ ^^^^ believes he
and Wmchell. tacti p. its story ^o'^^^'^^^l ^nerri-
™Selt-»*'-»""' :;:,„e«ec«,.^-
^^^^^X'' Best musical "1^'?^^^,^^^ Terry and by the P ter^^^^^^.^.p,^.
ra Pe^onlble f ^-D^i^ctedt; Sidney LanfieUl.-20^
ample colored trio. i^^^^l
Mannequm ^^^^^
, .ford needs, saia^-J^/.Sr
What Joan Crawfojd^^ pict^,". -J^ybad, and ^^n^ht
f.Ve'^ride^Worne^" y^^J^^Z^^ f^flJ^ers and for the .0-
;lo%ays they we-" t-^.^^ Crf ;,f°t^,ertaining .P--«erimentally
fherefore, nw^e news an .^^ .^^ '""'u^ve her sur-
^nt'Kbrtyp? of thinu%^^^^^^^^^^^^
^jXcast^^VK
^5^!?V^rsS"^| ^^yVet-e
. ^°^hTs grand troupmg ^ ^^^^^enough footage ^
deta. a. <l" ■ . o„ Page 68
BY LEO TOWNSEND
*** Tovarich
' ' "TnvaricVi" comes to
1 Urnadway stages. nerformed oy
After two years o« *^,^i^Tcomedy, ^dn-^bl^ er^^.^^
by the V,^a.r, w 3obs as uu (.Qi^edy ot tne i ,
„„ae,.. Colbert
Murphy, as the [ . Conimissar.
Rathbone, as the bo
Warner Bros.
You're a Sweetheart
^ ^ ' „art of 1
^^tr 1 ou 1 c « - ■ ^^^.^ is__wen,
Ust some of the plot ana .^^ ^p^^^ Universal. Song and
firs p««™ ""''SaTi.. c°
struck with star r a pubhcity stuut j. nere s
see you through to tne
Universal. —
Rosalie
, V-,,1 reUophane setuuB ^^^^ wni'-"
tinsel and ceiwv musical. It ^^ui love it. • scenes
fashioned f^^^J Nelson Eddy ^an^e eople "\ lo^^^nse it-but it
its opulence and i ^^^^e l^^Jl^^^^.'^s ^^-^^^"^ ,l''''% Wn.cmg\y
"Rosalie D B ^^^^g oVJ'L its hero, '^,"^,^^5" Point half-
than there will , Eddy, "s ^/est ^ oi"^
'through tbe Navy .tea- m his.ro^.^ lo- son| ;
partment, ana ^ by W. S)- ^
V..C.. ^^^.^^^ Page 94
GOING TO SEE A PICTURE? READ ODR REVIEWS FIRST AND YOD'EL PICK THE RIGHT ONES
61
MODERN
GLADYS GETS THERE!
I DON'T want to be a meanie," declared Gladys Swarth-
out in no uncertain terms, "simply because the role is
not natural to me. But," she continued, with a look
of great determination in her brown eyes, "if standing
up for my rights makes me one ; well then, I'm it !"
The above declaration came apropos of the tomato-
throwing sequence in "Romance in the Dark," her latest
picture. Besides the vegetable — or is a tomato a fruit? —
smacking the lovely Gladys full on the cheek, the gag
smacked more of the custard pie movie era than anything
that's been seen around these picture parts lately. Some
who witnessed the routine on the set said it was all done
in the spirit of good, clean fun; while others claimed
it was in the worst possible taste. Be that as it may,
the script call 3d for the scene, and so, it was made.
"I was afraid to refuse to do it," opined Miss
Swarthout, "for fear someone would say that I was
temperamental. I knew that it wasn't right and figured
that the surest way to convince the others was to make
the scene and let them see it on the screen. Then they'd
cut it out. And that is exactly what happened.
"One thing I'd like cleared up though, and that is that
my husband did the tomato-throwing. That's the way it
was arranged. Since that scene, (Continued on page 119)
By MUCK HUGHES
FILM FAME WAS NOT INSTANTANEODS
WITH LA SWARTHOUT, BUT A
GRADDAL, SDRE BDILDING-UP PROCESS
62
SCREEN
1
Gladys and her "best friend and severest critic,"
Hubby Frank Chapman, holidaying.
When the script called for vegetable-hurling,
Gladys insisted Frank toss the tomato.
MODERN SCREEN
I„thisNavC>^ , ,
What makes one woman's
skin so smooth — vital
looking? Another's dull
and dry, even rough?
Today, we know of one important
factor in skin beauty. We have
learned that a certain vitamin aids in
keeping skin beautiful. The important
"skin-vitamin" about which we are
learning more and more every day!
Aids skin more directly-
Over four years ago, doctors found that this
vitamin, when appUed right on the skin,
helps it more directly! In cases of wounds
and burns, it actually healed skin quicker
and better!
Pond's found a way to put tliis "skin-
vitamin" into Pond's Cold Cream. They
tested it — during more than three years! In
ten-
Blonde, petite, with a delicate fair skin. "Pond's Cold
Cream with the 'skin-vitamin has done wonders for my
skin. Noiv it's never rough or dry — seems to keep smoother
and fresher looking always."
animal tests, skin that had been rough and
dry because of "skin-vitamin" deficiency in
the diet became smooth and supple again
when Pond's Cold Cream containing "skin-
vitamin" was applied daily. And this im-
provement took place in only 3 weeks!
Women report benefits
Today, women who are using Pond's
Cream— the new Pond's Cold Cream with
"skin-vitamin" in it— say that it does make
skin smoother; that it makes texture finer;
that it gives a livelier, more glowing look!
Use this new cream just as before — for
your nightly cleansing, for the morning
freshening -up, and during the day before
make-up. Leave some on overnight and
(above) Mrs. Coelet at
an informal musicale.
(lower left) In the
Museum of Modern Art,
looking at the famous
"Bird in Flight.''''
Mrs. Goelet's home is in
New York, where her ap-
preciation of music and art
is well known to her friends.
whenever you have a chance.
Pat it in especially where there
are little rough places or where
yom- skin seems dull, lifeless. In
a few weeks, see if your skin is
not smoother, brighter looking!
Same jars, same labels,
same price
Now every jar of Pond's Cold
Cream you buy contains this new cream
with "skin-vitamin" in it. You will find
it in the same jars, with the same labels, at
the same price.
EXTRAOnDINARY
AT LOCAL SrOK£S
While they lasl! With
purchase of a regular
3.A-01. iar of Pond's
Cold Cream, get for only
li extra a lorge introduc-
tory bottle of DANYA,
Pond's new-type prep-
aration for hands.
CopyriKht, 193a. Pond's Kxtract ComDuny
63
MODERN SCREEN
HOW TO KEEP A
HUSBAND HAPPY
Grace Moore's Favorite Recipes
It's a wise bride who has discovered the Franco-
American way to make left-overs go further
and taste better. Now you don't have to worry
about what to do with the meat left over from
Sunday's dinner. Just combine it with Franco-
American Spaghetti, and your husband will be
amazed at how you can turn out such a mar-
velous creation on a "bride and groom budget.' '
That dehcious, savory sauce, with its eleven
ingredients, makes Franco-American Spaghetti
combine wonderfully with other foods.
Franco-American Spaghetti is grand as a main dish,
too. Children love it for lunch. It is just packed with
nourishment, and since Franco-American usually costs
only ten cents a can, this means that you are getting a
tempting, nourishing dish for less than 3^ a portion.
And how it does save work! It is all ready to heat and
serve. Franco-American is no ordinary ready-cooked
spaghetti— taste it once and you'll never be without it.
Get some at your grocer's today!
Franco -American
SPAGHETTI
Made by the Makers of Campbell's Soups
MAY I SEND YOU OUR
RECIPE BOOK?
SEND THE COUPON,
PLEASE
The Franco-American Food Company, Dept. 63
Camden, New Jersey. Please send me your free recipe
book: "30 "Tempting Spaghetti Meals."
Name (print) —
Address —
City
-State-
LANGOSTINOS SALTEADOS A LA CATALANA
1 pound cooked lobster meat (fresh, Ys, cup olive oil.
canned or frozen) 1 teaspoon minced parsley
1 small onion, minced fine 4 tablespoons tomato sauce
1 clove of garlic, minced fine V2 cup white wine
salt and pepper to taste
Remove cooked lobster meat from the shell and claws of lobster. Or if canned
lobster is used pick over carefully to remove any particles of shell. Cook onion and
garlic in olive oil until tender. Add lobster meat and brown slightly. Add parsley.
Just before serving add the tomato sauce and wine. Heat thoroughly. Season highly
with salt and pepper. Serve immediately with a side dish of rice.
SPREADS
For your Hospitality Tray or as Canapes.
SPANISH CANAPfiS: Chopped hard cooked egg and chopped pimento, moistened
with mayonnaise and sprinkled with garlic salt.
SHRIMP SPREAD : Pound cold cooked shrimps to a paste with as many small
chili peppers as your taste dictates. Moisten with a little lemon juice and olive oil. Add
salt to taste.
SALMON SNACK: To 1 cup flaked canned salmon add ^ teaspoon onion juice,
^ cup chopped celery, 2 hard cooked eggs, chopped, 2 tablespoons chopped sweet
pickles, 2 tablespoons chopped stufi'ed olives. Blend with ^ cup mayonnaise and season
to taste with salt, cayenne and paprika.
FLAVORED BUTTERS: To Vi cup softened butter add 2 teaspoons anchovy
paste or add 3 tablespoons chili sauce to Yz cup softened butter; or add >4 cup minced
watercress, 1 teaspoon each lemon and onion juice. Always blend thoroughly.
SNACKS
STUFFED CELERY
Wash and scrape celery. Wrap in damp towel and place in refrigerator to crisp.
Stuff with any of the following :
MIXED CHEESE STUFFING: Combine equal proportions of cream cheese
and roquefort cheese. Moisten to desired consistency with mayonnaise or cream. Fill
celery stalks and sprinkle with paprika.
PEANUT STUFFING: Mix J4 cup finely chopped salted peanuts with ^ pound
cream cheese. Moisten with a little cream. Fill celery stalks and sprinkle with finely
chopped sweet gherkins.
CELERY MANZANA: Beat creamed cottage cheese until very smooth or force
it through a fine sieve. To 1 cup cottage cheese add J4 cup finely chopped raw apple.
Fill celery stalks, sprinkle generously with celery salt.
STUFFED DILLS
Scoop out the centers of dill pickles, using an apple corer and cutting in from both
ends of pickle. Stand pickles up for 15 minutes to drain. Fill the hollows in pickles
with a paste made of cream cheese mixed with chopped ripe or stuffed olives seasoned
with celery salt and paprika. Chill and slice crosswise into half inch slices.
PIMENTO CHEESE PINWHEELS
cup milk
Yz cup butter, softened
2 pimentos, chopped very fine
Yi cup grated cheese
2 cups sifted flour
3 teaspoons baking powder
^ teaspoon salt
14 cup lard or vegetable shortening
Sift flour, measure. Add baking powder and salt. Sift again. Cut lard or vegetable
shortening into flour mixture with pastry blender or two knives. Add milk to form a
stiff dough. Roll out on lightly floured board. Spread with one half of the softened
butter. Fold both ends over to the middle then fold in half again. Roll out into a
rectan't'ular shaped piece one quarter inch thick and approximately four inches wide.
Spread with remaining butter, sprinkle with chopped pimento and grated cheese. With
the long side of the rectangle towards you, roll up into a long thin candle-shaped
cylinder Cut crosswise into Y2 inch slices. Place these small "pinwheels" on lightly
greased baking tin and bake in hot oven. (450° F.) to a golden brown (about 12
minutes.) Serve hot.
Y2 cup sugar
Y2 cup water
TOCINOS DEL CIELO
{Little Pigs of Heaven)
yolks of 6 eggs
2 (5c) bars of sweet chocolate
6 tablespoons boiling water
Boil sugar and Y2 cup water until the syrup will form a small thread when
dropped from the tip of a spoon. Remove from heat, cool slightly. Beat yolks with
rotary beater until thick and lemon colored. Add cooled sugar mixture slowly to
beaten yolks stirring constantly. Pour mixture into 6 very small buttered molds (or
muffin cups) Place molds in a pan, surround with boiling water and simmer gently
over low heat until mixture sets. Cool. Dissolve the chocolate candy in the 6 table-
spoons boiling water. Cool. Pour sauce over each "Little Pig of Heaven".
64
MODERN
SCREEN
SPONSORS THE NEW CUTEX
Hyf /ITH her incomparable flair for the
elegant, the softly feminine, Lanvin,
famous Paris dressmaker, sponsors the
new Cutex CLOVER, to wear with her new-
est and loveliest Spring frocks.
She has a sure feeling for harmony. So
you may be quite certain that Cutex
CLOVER will complete your next season's
costumes suavely, exquisitely.
iVew . . . Intriguing . . . Versatile . . .
Cutex CLOVER is a new smoky, winy red,
deep enough for sophisticates, soft enough
for Spring and blondes. Lanvin says: "It's
keyed high enough to climax the drama of
my evening gowns, yet it's not too spec-
tacular for my tailored day clothes."
Try it and see how soul satisfyingly
Cutex CLOVER points up the season's Big
Four in costume colors . . . the important
new rosy beiges, the soft Spring grays and
greens, perennial navy.
Be one of the first to greet the Spring
with Cutex CLOVER sponsored by Lanvin!
Longer Wearing, Too
Remember, like all Cutex colors, CLOVER
won't fade, chip, peel. It goes on like a
dream! And it wears and wears and
wears! Ask to see the whole Cutex color
family! Only a bottle at any shop.
Northam Warren, New York, Montreal, London, Paris
6 NEW SHADES TO CHOOSE FROM
HEATHER: A deep, smoky rose, with a hint of pur-
ple in it, for your navy, beige or gray suits.
LAUREL: Ashes of roses, a subtle grayed pink.
Lovely with Spring pastels, gray, beige.
CLOVER: Deep, luscious red — goes beautifully
with everything except orange tones.
THISTLE: Rust and Rose have met and mingled.
Perfect with gray, green, rust, brown.
TULIP: A fresh, true crimson. Stunning with black,
gray, blue, bright green, fuchsia, yellow.
ROBIN RED: True red, subdued in intensity. It
really goes with everything.
Also Rose, Old Rose, Rust, Light Rust, Natural,
Colorless and Burgundy.
CUTEX INTRODUCTORY SET
—containing your favorite new Cutex shade, Cutex
Oily Polish Remover, Cutex Oily Cuticle Remover, 15^.
NOKTHAM WARREN CORPORATION, Dept. 8-M-3,
191 Hudson Street, New York, N. Y.
(In Canada, P. O. Box 2320, Montreal)
I enclose 15^ to help cover postage and packing for Cutex
Set, including one shade of Cutex Liquid Polish. (Check
one shade desired.)
Clover □ Tulip □ Thistle □ Heather □ Laurel □
Nan
Address-
City
65
MODERN SCREEN
"GIVE IN"
MIDOL ,
W:"GO ON !
The Box-Oftice Darlings of 1937
DON'T live in dated dread of periodic
functional pain, or let the calendar regu-
late your activities. For doctors have dis-
covered that severe or prolonged pain at
such times is not natural to most women.
And unless you have some organic dis-
order requiring a physician's or surgeon's
attention, Midol in all probability can
make your days of menstruation as care-
free as any other.
Midol is offered for this sole purpose.
It acts quickly. In all but unusual instan-
ces it brings definite relief. Two tablets
should see you through your worst day.
So, get Midol and "carry on". Druggists
have it on the counter. Handy purse-size
tin, 50^ — and well worth it when periodic
suffering must be relieved.
ON THE COUNTER AT DRUGSTORES
66
9. Gary Cooper
10. Myrna Loy
MODERN SCREEN
v..
1^
«said pretty little Barbara B. HERE'S WHAT MADGE EVANS REPLIED
9 out of 10
SCREEN STARS
REMOVE COSMETICS
WITH LUX TOILET
SOAP BECAUSE
THEY daren't RISK
COSMETIC SKIN.
EVERY G-IRL SHOULD
GUARD A&AINST IT
always use Lux Toilet Soap," says this
charming screen star, and tells you why. It's when
pores are choked that Cosmetic Skin develops —
dullness, tiny blemishes, enlarged pores. Lux
Toilet Soap's ACTIVE lather removes dust, dirt,
stale cosmetics thoroughly from the pores. Keeps
skin smooth, soft, appealing! Use cosmetics all
you like! But use Lux Toilet Soap before you
renew make-up — ALWAYS before you go to bed.
Screen Stars Use Lux Toilet Soap
67
MODERN SCREEN
LOOK YOUR BEST
IN^yfTLIGHT
You can, if you use £ifAt-^/i&o^ powder!
• You can now get powder that is light-proof.
Luxor face powder modifies the light rays that
powder particles ordinarily reflect. It solves the
old problem of "shine". Your complexion is
not constantly being light-struck, by day or by
night. Those unbecoming highlights of cheek-
bones, chin, and nose are all subdued!
iAn Important Discovery
Any shade of light-proof powder will do more
for your appearance than the most carefully
selected shade of powder that picks up every
ray of light. It will keep that lovely softness
under lights that would otherwise make your
face shine like an apple.
Don't buy any powder until you have made
this test. The makers of Luxor light-proof
powder will send you a box free, for your own
demonstration. Make up as usual, in any light,
but finish with this new powder. Then see if
you can find any light this remarkable pow-
der does not soften!
LUXOR PROOF FACE POWDER
THIS IS what happens
with make-up thatre-
flects every ray of light.
SEE the effect of powder
that is hght-proof and
modifies the light rays.
, Chicago. MM-3-38
Please send trial box of Luxor light-proof
powder free and prepaid.
□ Rachel □ Rose Rachel □ Rachel No. 2
□ Flesh
Name
Street
City State.
MOVIE SCOREBOARD
Picture and Producer General
Rating
Adventure's End (Universa!) 2*-
Adventurous Blonde (Warners)
Alcatraz Island (Warners) iVz-k
All Baba Goes to Town (20lh Century-Fox)
All Over Town (Republic) IVz*
Annapolis Salute (RKO) 2*
Another Dawn (Warners) Wiir
Artists and Models (Paramount) %-k
Ave Maria (UFA) 3*
The Awful Truth (Columbia) 4-^
Back in Circulation (Warners) 2-A-
Bad Guy (M-G-M) 2^
The Barrier (Paramount) 1-^
Beg, Borrow or Steal (M-G-M) 21/2-*
Behind the Mike (Universal) IVzi
Between Two Women (M-G-M) 2 ★
Big City (M-G-M) 21/2 ★
Big Town Girl (20th Century-Fox) 2*
Blonde Trouble (Paramount) 2V2^
Behind Prison Bars (Monogram) 2^^
Blossoms on Broadway (Paramount) 1 -if
Born Reckless (20lh Century-Fox) 2^lr
Boots and Saddles (Republic) 2V2*
Boss of Lonely Valley (Universal) 2*
Breakfast for Two (RKO) 2*
A Bride for Henry (Monogram) 1
The Bride Wore Red (M-G-M) 1
Broadway Melody of 1938 (M-G-M) 3*
Bulldog Drummond at Bay (Republic) ^y^•k
Bulldog Drummond Comes Back (Paramount). ... 1 ^
Bulldog Drummond's Revenge (Paramount) 2V2*
Charlie Chan at Monte Carlo (20th Century-Fox). 2ilr
Charlie Chan on Broadway (20th Century-Fox)., i-k
*Checkers (20th Century-Fox) 2*
Confession (Warners) 2-ir
Conquest (M-G-M) 4*
Counsel for Crime (Columbia) 2-k
Courage of the West (Universal) 'Wzir
Criminals of the Air (Columbia) i-k
Crusade Against Rackets (Principal) 2-k
A Damsel in Distress (RKO) 3*
Dance, Charlie, Dance (Warners) 2 -if
Danger — Love at Work (20th Century-Fox) ^ -k
Dangerously Yours (20lh Century-Fox) 1 -ir
Danger Patrol (RKO) 2*
Dark Journey (United Artists) 3 it
Daughter of Shanghai (Paramount) 2V2'j<r
Dead End (Samuel Goldwyn) 4ylr
Double or Nothing (Paramount) i-k
Double Wedding (M-G-M) 2*
*Every Day's A Holiday (Paramount) 3ilr
Escape by Night (Republic) IViit
Ebb-Tide (Paramount) 3ilr
52nd Street (Walter Wanger) 2*
Fight For Your Lady (RKO) 2*
The Firefly (M-G-M) 2 k
First Lady (Warners) 3-jlr
Fit for a King (RKO) 2*
Flight from Glory (RKO) 2*
Footloose Heiress (Warners) 1 ilr
Forty-Five Fathers (20th Century-Fox) i-k
Forty Naughty Girls (RKO) 2*
Frame-Up (Columbia) ik
The Game that Kills (Columbia) 2*
Gangway (GB) 2V2*
The Gold Racket (Grand National) 2^
The Good Earth (M-G-M) 4*
The Great Garrick (Warners) ik
Heidi (20th Century-Fox) 3^
Here's Flash Casey (Grand National) 2-^^
High, Wide and Handsome (Paramount) iVik
Hitting a New High (RKO) 2*
Hold 'Em, Navy (Paramount) 2-k
*Hollywood Hotel (Warner) 3*
Hot Water (20th Century-Fox) 1*
Hurricane (Samuel Goldwyn) 3y2Tlr
Idol of the Crowds (Universal) 2^
I'll Take Romance (Columbia) 3k
It Can't Last Forever (Columbia) ^V2k
It Happened in Hollywood (Columbia) iVzif
*lt's All Yours (Columbia) 2*
It's Love I'm After (Warners) 4-*lr
King Solomon's Mines (GB) 2^
Lady, Behavel (Republic) 2*
The Lady Escapes (20th Century-Fox) IVi*
*The Lady Fights Back (Universal) Ilk-
Lancer Spy (20th Century-Fox) 2-k
The Last Gangster (M-G-M) 3*
Life Begins in College (20th Century-Fox) 2*
Live, Love and Learn (M-G-M) 3^
Look Out, Mr. Moto (20th Century-Fox) 1 *
The Life of Emile Zola (Warners) 4^
The Life of the Party (RKO) 1 ★
Lost Horizon (Columbia) 4-k
Love and Hisses (20lh Century-Fox) 3-k
Love Is on the Air (Warners) Z-k
Love Takes Flight (Grand National) tVi-k
Love on Toast (Paramount) 2-^
Love Under Fire (20th Century-Fox) 2V2k
Picture and Producer General
Rating
Madam X (M-G-M) IVj*
Make a Wish (RKO) 21/2*
*Mama Runs Wild (Republic) 1 ^
'Mannequin (M-G-M) 3*-
*Man-Proof (M-G-M) 2*
Married Before Breakfast (M-G-M) iVz-k
Marry the Girl (Warners) 1 V2*
Mayerling (Nero) 4-k
Merry-Go-Round of 1938 (Universal) i-k
Missing Witnesses (Warners) 2^
Mr. Dodd Takes the Air (Warners) 2 Ik-
Murder in Greenwich Village (Columbia) li
Murder on Diamond Row (London Films) 2V2*
Music for Madame (RKO)
My Dear Miss Aldrich (M-G-M) 2-^
Navy Blue and Gold (M-G-M) 3-k
New Faces of 1937 (RKO) 3^
Night Club Scandal (Paramount) 2if
Non-Stop New York (GB) 2^
Nothing Sacred (Selznick-lnternational) 3-^
One Mile from Heaven (20th Century-Fox) IV2*
On Again— Off Again (RKO) 1 *
100 Men and a Girl (Universal) 4-k
On Such a Night (Paramount) ^i
Ourselves Alone (GB) 2V2*
Over the Goal (Warners) 1^
Paid to Dance (Columbia) I-k
Partners in Crime (Paramount) i if
The Perfect Specimen (Warners) 3 -it-
Prescription For Romance (Universal) tjk
Portia on Trial (Republic) 3^
Prisoner of Zenda (Selznick-lnternational) 4-ilr
Reported Missing (Universal) 2-Jlr
Renfrew of the Royal Mounted (Grand National) 2-k
Rosalie (M-G-M) 3*
The Road Back (Universal) 3*
Roaring Timber (Columbia) 2-k
San Ouentin (Warners) 2V2i^
Saturday's Heroes (RKO) 21/2-*-
Second Honeymoon (20th Century-Fox) 2^r
Sea Racketeers (Republic) IVzir
Shadows of the Orient (Monogram) iy2^r
She Asked for It (Paramount) 2^
The Sheik Steps Out (Republic) 2-k
Shi The Octopus (Warners) 2*
She's No Lady (Paramount) 1-k
Snow White and the 7 Dwarfs (Disney) 4llt-
Small Town Boy (Grand National) 2-k
Some Blondes Are Dangerous (Universal) 1 ^
Something to Sing About (Grand National) 2V2-k
Sophie Lang Goes West (Paramount) 2^/2 ■*•
Souls at Sea (Paramount) 3 k
Stage Door (RKO) 4*
Stand-in (Walter Wanger) 3-*-
Stella Dallas (Sam Goldwyn) 4*
Super Sleuth (RKO) 1 -Jt
Strangers on a Honeymoon (GB) 2-k
Submarine D-1 (Warners) 2-k
Swing It Sailor (Grand National) 1
Talent Scout (Warners) 1 Hr
Tes Rides with the Boy Scouts (Grand National). . 2-k
Texas Trail (Paramount) 2llr
The Tenth Man (GB) 2-k
The Shadow (Columbia) 2^
There Goes The Groom (RKO) 2-A-
That Certain Woman (Warners) 2-k
They Won't Forget (Warners) 3-k
Thin Ice (20th Century-Fox) 3V2k
Think Fast, Mr. Moto (20th Century-Fox) 2*
This Way, Please (Paramount) 'i k
Thoroughbreds Don't Cry (M-G-M) 2V2-k
Thrill of a Lifetime (Paramount) 1 -dr
The Thirteenth Man (Monogram) IVi"^
Thunder Trail (Paramount) 2-k
Trapped by G-Men (Columbia) ^V2^k
True Confession (Paramount) 4^
The Toast of New York (RKO). 3-k
Topper (Hal Roach) 3-k
Tovarich (Warners) 3-k
True Confession (Paramount) 3-k
Under Suspicion (Columbia) 2-^-
Varsity Show (Warners) 3-k
Victoria the Great (RKO 4-k
Vogues of 1938 (Walter Wanger) 3-k
Wee Willie Winkle (20th Century-Fox) 4-*
^)Cells Fargo (Paramount) 3 k
West of Shanghai (Warners) ^V2-k
The Westland Case (Universal) 2-*-
While Bondage (Warners) 1 -Ar
Wife, Doctor and Nurse (20th Century-Fox) 2V2-*-
Wild and Woolly (20th Century-Fox) 2-*-
Wild Money (Paramount) 1
Wine, Women and Horses (Warners) 1
*Wise Girl (RKO) 3-*-
The Wrong Road (Republic) 21/2*
You're A Sweetheart (20lh Century-Fox) 2-*-
*You're Only Young Once (M-G-M) 2-*
You Can't Have Everything (20th Century-Fox). ... 3 *
Turn to our Scoreboard when you're in doubt about what movie to see. It's a valu-
able guide in choosing entertainment. Instead of giving the individual ratings of
Modern Screen and authoritative newspaper movie critics all over the country, we
have struck an average of their ratings. You'll find this average under General
Rating, beside each picture. 4-^, very good; 3-^"- good; 2-^, fair; 1-^, poor. Asterisk
denotes that only Modern Screen ratings are given on films not reviewed by news-
papers as we go to press.
68
FOOLISH words of a popular song. But there's truth in
them. In his heart, every man idealizes the woman he
loves. He likes to think of her as sweetly wholesome,
fragrant, clean the way flowers are clean.
Much of the glamour that surrounds the loved woman in
her man's eyes, springs from the complete freshness and
utter exquisiteness of her person. Keep yourself whole-
somely, sweetly clean!
Your hair, and skin, your teeth— of course you care for
them faithfully. But are you attending to that more intimate
phase of cleanliness, that of "Feminine Hygiene"? Truly
nice women practice Feminine Hygiene regularly, as a
habit of personal grooming. Do you? It will help to give you
that poise, that sureness of yourself, that is a part of charm.
The practice of intimate Feminine Hygiene is so simple
and so easy. As an effective cleansing douche we recom-
mend "Lysol" in the proper dilution with water. "Lysol"
cleanses and deodorizes gently but thoroughly.
-k
You must surely read these six reasons why "Lysol" is
recommended for your intimate hygiene—to give
you assurance of intimate cleanliness.
surface tension, and thus vir-
tually search out germs.
4 — Economy . . . "Lysol", be
1 — Non-Caustic . . . "Lysol", in
the proper dilution, is gentle.
It contains no harmful free
caustic alkali.
2 — Effectiveness ..."Lysol"
is a powerful germicide, active
under practical conditions . . .
effective in the presence of or-
ganic matter (such as dirt,
mucus, serum, etc.) .
3 — Penetration . . . "Lysol" so-
lutions spread because of low
cause it is concentrated, costs
only about one cent an appli-
cation in the proper dilution
for Feminine Hygiene.
5 — Odor . . . The cleanly odor
of "Lysol" disappears after use.
6 — Stability. . . "Lysol" keeps
its full strength no matter how
long it is kept uncorked.
TUNE IN on Dr. Allan Roy Dafoe. every Monday, Wednesday and Friday, 4:45 P.
What Every Woman Should Know
SEND Tins COUPON FOR LYSOL
LF.HN & FINK Products Corp., Dept. 3 M.S.
Bloomfield, N. J.. U. S. A.
Send me your free booklet ''Lysol Vi. Germs*'
tells the many uses of "Lysol".
Name-
BOOKLET
Streets
City
- State^
v., Columbia Network.
Copyrtarht 1938 by Lehn & Fink ProductslCorp.
69
MODERN SCREEN
Feverish? Grippy?
SEE DOCTOR AT ONCE
WARNING! DON'T
NEGLECT A COLD!
Cold germs may 90 UP into the sinuses
or DOWN into the bronchialsand lungs
and lead to a serious illness. If fe-
verish or grippy, sec doctor ot once!
FOR "RAW" THROAT
USE THIS "FIRST AID "
Doctors warn that colds can lead to seri-
ous illness — to ear and sinus infection,
and even pneumonia. So don't take a
chance. Treat the symptoms of a coming
cold effectively and without delay! 1/ you
feel feverish or grippy see your doctor at once!
TAKE THIS SIMPLE PRECAUTION
Forthe most effective "firstaid," kill the coldgerms
that cause raw, dry throat. At the first sign of a raw
throat cold, gargle with Zonite. Zonite does 3 jobs
for you: (1) Cleanses mucous membranes. (2) In-
creases normal flow of curative, health-restoring
body fluids. (3) Kills cold germs present in the throat
as soon as it comes in actual contact with them.
In a test to find out the germ-killing powers of the
nine most popular, non-poisonous antiseptics on
the market, Zonite proved to be actually 9.3 times
more active (by standard laboratory tests) than the
next best antiseptic compared! This means economy
because you use Zonite dijuted! Zonite goes far-
ther—saves you money.
Use 1 teaspoon of Zonite to one-half glass of water.
Gargle every 2 hours. Zonite tastes like the medi-
cine it really is. Soon your throat feels better.
DON'T DELAY— BE PREPARED
Get Zonite at your druggist now. And at the first
sign of rawness in your throat, start gargling at
once. But remember: If you are feverish, consult
your doctor! Don't risk a serious illness.
ZONITE IS 9.3 TIMES MORE
ACTIVE THAN ANY OTHER
POPULAR non-po/sonous ANTISEPTIC
fcy standard laboratory tests
-Jt
GARGLE WITH
ZONITE AT FIRST
SIGN OF A COLD!
%nife
Gargle with Zonite
70
GOOD NEWS
(Continued from page 38)
A studio call sheet, the list of characters
and objects needed for the day's shooting
schedule, is sometimes prosaic, sometimes
amazing. We like the one we found on the
set of Columbia's "The Night Before." Here's
the list:
9 Santa Clauses
1 Billygoat with beard and appetite for
tin cans
1 New York policeman (must have flat
feet)
2 African lions that roar easily
1 pack bubble chewing gum for Lionel
Slander
1 Ostrich egg (must be fresh)
2 Talking parrots (must not curse)
winds up going to Miss Russell's room to
congratulate her. Polite with champagne,
she says, "You deserve him, dear. You're
a very pretty girl." Then, as she weaves
out of the room, she adds, "And so am I!"
In "Jezebel," Bette Davis, playing a
southern belle of the 90's, wears the cus-
tomary hoop skirts in most of her scenes.
We saw her on the set the other day,
and talked to her between scenes. Know
what she was wearing under them hoops?
Slacks !
Things must be very happy indeed at
the home of the Richard Powells, of this
city. The other night, for instance, at the
"Hollywood Hotel" preview, the studio
had a microphone set up in the lobby to
allow the stars to tell the public what a
wonderful picture they knew it was gomg
to be. When Joan Blondell's turn came,
she stepped up to the mike and said: "If
Dick's in it, I know it's good."
One of the highlights of "Man-Proof" is
Myrna Loy's dignified drunk scene. Miss L.,
who has lost Walter Pidgeon to Rosalind
Russell, plays second fiddle at the wedding
in the role of bridesmaid. When the recep-
tion gets under way so does Myrna, and she
"100 Men and a Girl" may be a smash
hit In America, but in Austria it's much more
than that. Because the government con-
siders it a work of art, all picture exhibitors
who play it are given a substantial reduc-
tion in taxes!
The rumors that Garbo's real romance
is director Willie Wyler still float around
town, and Wyler is the most surprised guy
in Hollywood, because he's never met his
alleged lady love. It all started as a gag,
when a columnist asked Wyler if he had
any new romances. "I've been seeing a
lot of Garbo lately," said Mr. W. The
columnist took his word for it, and you
know the rest. That's Hollywood!
(Continued on page 105)
MODERN SCREEN
is Dorothy Lamour's pet hobby —
that's just one reason she likes Lux
SAVING PENNIES has always
been one of this young star's
pet hobbies. But once it was a
grim necessity.
"I couldn't always afford lots
of stockings and undies," she
says, "so I took the best possible
care of them. I washed them in
Lux every night."
Of course, pennies don't worry
her now, but she still insists on
having her washables cared for
with Lux. "I get so fond of my
OFf the set, Miss Lamour
adores soft sweaters, fresh-
ly Luxed. Don't miss see-
ing her in Paramount's
"Her Jungle Love."
things, I can't bear to see them
wear out," she explains.
Every girl can share Miss
Lamour's simple Lux secret. Lux
has no harmful alkali to fade
colors. And with Lux there's no
cake-soap rubbing to injure fibers.
Safe in water, safe in Lux!
AT PARAMOUNT STUDIOS, Lux is spec-
ified for washing everything safe in
water alone. "It saves on cleaning,
cuts down replacement costs," says
Frank Richardson, wardrobe director.
"Dottie" is also heard on a
nationwide radio program
each week. In her leisure (7)
time this Paramount star
likes to relax — in Luxables.
"Lux has always saved me a lot on
stockings," says Miss Lamour. "I hard-
ly ever get runs!" Lux saves the elas-
ticity of silk. Then it can stand sudden
strains better — isn't so apt to run.
Specified in leading Hollywood Studios
MODERN SCREEN
• I I I.I I - what happens to
1 (Mil nl 5 women — '^^Love
III I 11 ••I Sight'' — when
. they try Italian Balm.
I They continue using this
I famous skin softener in
I preference to anything
they've ever used before.
It's a lasting attraction.
And little wonder. Italian Balm has a genu-
ine right to a warm place in a woman's heart.
It's a very INexpensive skin protector to use —
yet tests of the largest selling lotions prove that
Italian Balm contains the MOST expensive in-
gredients of any other of these popular brands.
Try Italian Balm yourself — as a protection
against chapping and dry, coarse skin
texture. See how quickly it softens and
smooths your skin. You'll feel the differ-
ence in ONE MINUTE after applying it.
Test Italian Balm before you buy it. Send
for FREE Vanity Bottle. Mail coupon today.
Italian Balm
Famous for Skin Protection and Economy
CAMPANA SALES CO.
213 Liiicolnway, Batavia, Illinois
Gentlemen: I have never tried Italian
Balm. Please send me VANITY Bottle FREE
and postpaid.
Name
Address—
City
Jn Canada. Campanc
72
, Lid.. MG-21S Caledonia Road . To
OUR PDZZIE PAGE
Puzzle Solution on Page 118
6
13
18
19
mm
20
21
23
Si
24
H
■
25
H
26
■i
28
> i
29
mm
30
31
33
35
'if ft
m
37
38
39
40
41
42
44
46
49
S3
56
58
ACROSS
French landscape-painter
Star of this puzzle and "Buccaneer"
He's married to Florence Eldridge
"_ . _ _ - the Clouds"
The "Adventurous Blonde"
Feeble-minded
Send back
Prima donna in "I'll Take Ro-
mance"
The receptionist in "Rebecca of
Sunnybrook Farm"
Metallic substance
"The Adventures of - - - Sawyer"
"The - - - of Indiscretion"
Ralph lamy
"Hallelujah, Fm a "
Marjorie - - - -
Midday
Maureen O'Sullivan's role in
"David Copperfield"
Ann Borg
Enough : poet
Imitated
Nana in "The Life of Emile Zola"
Paradise
Ether compounds
Western star, Bob
Nimble
Eat
Star of "Angel"
"First Lady's" husband
LeGallienne's first name
59. Blair in "Accidents Will Happen" .
init.
60. Three-toed sloth
61. Airline popular with stars
62. Our star's latest ;"-------
Sacred"
65. Tease
68. Guide
69. Farce : var.
70. Male star of "Stand-In"
75. Humorous film
79. Screen part
82. Small river duck
83. Talleyrand in "Conquest"
84. Engrave
88. "Topper's" butler
89. Serf
90. " the Missus"
91. Uncommon
92. White metal
93. Joe in "Swing Your Lady"
94. Viper
96. Don in "You're a Sweetheart''
98. Hindu religious teacher
99. Made egg-shaped
101. Remove oil from
103. Birthplace of star pictured
105. F'easted
106. Male star of "Expensive Hus-
bands"
108. Francis Lederer's wife
109. Belonging to Mr. Astaire
110. Bulb O'Connor in "Bank Alarm''
111. Peter in "Broadway Melody of
1938"
MODERN SCREEN
DOWN
9.
10.
11.
12.
13.
14.
15.
16.
17.
22.
24.
27.
29.
32.
34.
36.
37.
43.
45.
46.
47.
48.
50.
51.
52.
54.
55.
56.
57.
63.
64.
66.
67.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
85.
86.
87.
93.
95.
97.
100.
101.
102.
104.
106.
107,
Our star's love in "Nothing
Sacred"
Star of "Divorce of Lady X"
Hero of "Shanghai Deadline"
Eggs
Canvas shelter
"Ebb-Tide's" leading lady : init.
Torn cloth
Commissions
Haul
Retreats
Island ; Fr.
Star who play "Rembrandt" :
init.
Handle roughly
Heroine _ of "There Goes the
Groom"
Marked with ridges
Col. Ferris in "Gold Is Where
You Find It"
Bing
Male star of "Knight Without
Armor"
Bonnie of "The Jones Family"
Be melancholy
Kind of French cream cheese
Reside
Over : poet
Scrap of refuse
Changes direction
Witness a picture
Mrs. Bing Crosby
Concluding words
Lively French dance
Angry
Weasel-like animal
Stanley in "Thrill of a Lifetime"
Growing out
Judy in "Some Blondes Are Dan-
gerous"
Unit of energy
Charles Boyer's wife
Femme star of "Lancer Spy"
Lily in "Live, Love and Learn"
Wrath
Rural Free Delivery : abbr.
Last third of M-G-M
Place occupied by another
For fear that
King Richard in "Adventures of
Robin Hood"
Tarzan's new mate
Compose
Be indebted to
Jeeters in "You're a Sweetheart"
" Madame"
Director of "Lancer Spy"
The Queen in "Rosalie"
Woolly
Nocturnal mammals
Wince
On this
Belonging to Mr. Sparks
Cultivated
" the Woman"
Fuzzy in "Hollywood Hotel"
Daisy in "True Confession"
" Them Live"
Famous Negro bandleader
The panther woman : init.
Star of "Heidi" : init.
She looks inquiringly at the world,
and the world looks back the same
way. For Patricia is one of the ba-
bies in Westfield, N. J., whose pic-
tures and health records are part of
a recent study of infant nutrition.
Patricia has been having Clapp's
Baby Cereal for 4 weeks; she'll soon
get Clapp's Strained Vegetables.
Laughing out loud to see dessert
coming — for now Patricia gets
Clapp's Strained Fruits, too. Like
all Clapp's Strained Foods, these
fruits have the texture doctors ad-
vise—smooth, finely strained, but
not too liquid. Patricia has gained
2 pounds, 5 ounces in 2 months; she
can creep, and sit up like a little
major.
Plentiful vitamins and minerals in
her pressure-cooked Clapp's Foods
are what make Patricia strong as
well as chubby. She's 30 inches tall,
weighs 18 pounds, 12 ounces. Like
every Clapp-fed baby in the test,
Patricia has made steady, uninter-
rupted progress. And she likes her
vegetables. Clapp's flavors are bet-
ter—just taste and seel
T^^e^ 'U/^<zt' 4e^ec/ ^^cno. , ,
16 Varieties of Clapp's Strained Baby Foods-
Baby Soup Strained or Unstrained, Vegetable
Soup, Beef Broth, Liver Soup; Apricots, Prunes,
Apple Sauce; Tomatoes, Asparagus, Peas, Spin-
ach, Beets, Carrots, Green Beans; Baby Cereal.
Free Booklet! Photographs and records of
12 Clapp-fed babies — and valuable feeding in-
formation. Write to Harold H. Clapp, Inc., Dept.
QSM. 777 Mount Read Blvd., Rochester, N. Y.
NEW! . . . for older babies
Clapp's Chopped Foods
Doctors asked for tiiem . . . even-textured foods
with all the advantages of Clapp's Strained
Foods, but more coarsely divided. At your
dealers' now — remember them when your baby
outgrows Clapp's Strained Foods.
73
MODERN SCREEN
''My SKIN
now invites
a close-up
'* how well I re-
call the days and
long evenings
when I felt tired-
out and looked it/^
A SKIN that glows naturally bespeaks ra-
diant health beneath ... it is alive . . .
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GETTING A GLIMPSE OF GARY
{Continued from page 29)
found extra pickings too lean to live on.
"Can I help you, Mr. Cooper?" he asked
Gary one day, as the actor was leaving
his dressing room for the set.
Cooper eyed him. "Well, I don't know.
Maybe. Come on out."
Cracker proved himself an asset. It
wasn't so much that he helped Cooper
to dress, ran errands, anticipated his
needs. It was his eager willingness to
please, the hundred ways in which he made
himself useful without being asked, not to
Cooper alone but to everyone on the set.
Above all, he was a nice person to have
around, with a drollery that brought an
answering light to Cooper's eye.
Cooper's an outstanding example of the
fallacy of the statement that, to get any-
where in Hollywood, you must play poli-
tics. He doesn't know how. There is
no guile in him. He remains astonished
by his own success, and believes it to be
the literal truth that "people pushed me into
the movies when I was broke, and kept
pushing me right along till they'd made
a star out of me. I had little to do with
it." He has never had a studio squabble
over billing, he has never walked out be-
cause of story or director trouble. He
doesn't read notices, he hopes "it will be
a pretty good picture," and that's as far as
he'll go. He values his own talents too
modestly to harbor a thought of profes-
sional jealousy.
"He worried more over my part in 'Souls
at Sea' than over his own," says George
Raft, whose usually fluent tongue breaks
down when he tries to express his ad-
miration for Cooper. "Look, how'll I say
it? You meet a lot of swell people in this
business. Well, Coop's the swellest. See
that ?" He pointed to where Cooper's name
was scribbled on a rafter of the dressing-
room that had once belonged to him, and
was now Raft's. "I'm goin' to have it
burned in. That way I can always get a
kick out of lookin' at it."
A staunch friendship grew up between
the two during the making of "Souls at
Sea." Backgrounds totally different proved
no barrier. Each found in the other an
absence of sham and pose, a basic reality,
strong enough to build friendship on. The
Cooper home was burglarized one night.
A few days later Raft was visiting Cooper
on the "Marco Polo" set.
"Did they take much?" he asked.
"So-so. Nothing we cared a lot about.
Except that tie-clip you gave me, George.
I miss that. It used to hold the tie so
well."
"I'll get you another." They both knew
Coop could buy himself a dozen clips that
would hold his tie equally well. But the
chances are, Raft has rarely felt a deeper
satisfaction than he got from the knowl-
edge that it was his tie-clip Cooper wanted
to use.
Raft and Henry Hathaway, the director,
were seated at lunch one day when Coop-
er joined him. The news that there was
to be a baby in the family had broken
that morning. "So you're going to be
a papa," Raft greeted him. But let him
tell it.
"He put his hand up, the way he does,
all oyer his face and down. Then he said,
'Don't believe all you see in the papers.'
"He was shy, tellin' us about the baby.
Can you imagine? I said, 'We want to
give him the first present, Hathaway
and I.'
"Then he looks up and grins. 'Suppose
it's not a him,' he says, and that's how
he lets us know it's true."
His reactions to the baby's birth were
those of any prospective father. He paced
the hospital corridor, he jumped at every
sound, he cast imploring glances at nurses
and doctors ; when a door opened, he
stopped white- faced in his tracks ; when
they shook their heads, "Not yet," he
resumed his pacing; when a smiling nurse
finally emerged with the news, "It's a girl
and everything's fine," he collapsed into a
chair and sat there shaking.
"VT OW that the tension is over, he's
-L^ reverted to type, regained control of
his emotions. He doesn't tell you how
much the baby weighs, how pretty she is,
whom she looks like. But he can't control
the smile in his eyes when she's mentioned.
His next picture, now that "Marco Polo"
Ginger Rogers
doesn't believe
in idleness. She
knits between
scenes of "Hav-
ing Wonderful
Time," and
chats with Lela,
her mother,
and Cousin
Phyllis Fraser.
74
MODERN SCREEN
Meet Penny Singleton. You
used to know her as Dorothy
McNulty, but after "Swing Your
Lady," she'll be slated for
bigger and better things, and
so she changed her name!
is finished, is a comedy with Claudette
Colbert, called "Bluebeard's Eighth Wife"
and directed by Lubitsch. His emergence
as a comedian is erroneously dated from
"Mr. Deeds." It was Lubitsch who un-
covered his gift for humor in "Design
for Living," and he takes his cigar from
his mouth to smile over the memory.
"Zey all sought I am crazy. Articles
are written about zis terrible miscasting.
'Why do you do it?' zey yell at me. I tell
you why. Before, I have not seen Cooper
in any part where he is exactly a comedian,
but I have noticed in many straight parts
zat once in a while zere comes a comedy
flash — in sometimes a look, in sometimes a
funny gesture, and I know zat in Cooper
zere hides a comedian. I am positive. I
say to him : 'Gahry, it is a new kind of
part, but a cinch for you if you only want
to be yourself.' Gahry jumps right
away, he doesn't hesitate. 'O.K.,' he said.
"Well, Gahry was himself. It was not
zat he acquired a comedy technique, no.
He played wis a humor which came from
wizziH. His comedy is humor — not to make
faces and srow custard pies, but to put his
own feeling into ze part.
"I will say, here is ze great sing about
Cooper as well in life as in work — zere
is nossing of ze obvious and ze cheap
side of an actor in him, nossing of ze
showoff. He is ze greatest contrast to what
you might call a ham. Zere is a certain
heart-simplicity, which is in himself and
which comes out on ze screen. He is an
actor by instinct, and instinct is always
stronger zan technique. Technique you
may admire, but you don't love it. And
zey all love Gahry, hein?"
Cooper goes out of his way to avoid
fanfare. He shuns gatherings where
cameras are likely to pop. With rare
exceptions.' One of them occurred when
a script clerk, who had worked on several
of his pictures, died. Her husband worked
on the Paramount lot, too, in the transpor-
tation department. On the day of her
burial Cooper called Henry Hathaway.
"Are you going to the funeral ? All
right, I'll see you there."
"Don't you want me to call for you?"
Hathaway asked, knowing his friend's
aversion to public appearances and think-
ing to lend him moral support.
"No. I'll see you there."
It wasn't till the services were ended
that Hathaway understood.- Five of those
who carried the girl to her long rest were
drivers in the Paramount transportation
department. The sixth was Gary Cooper.
NOW ONLY lO^
at drug, department, ten-cent stores
TO KEEP FRAGRANTLY DAINTY— BATHE WITH PERFUMED
CASHMERE BOUQUET SOAP
75
MODERN SCREEN
Make a ^^2S3/start
and swing over to a FXESi¥ cigareiie
Fresh Star
Salesgirl in a department store, Joy Hodges
made a fresh start. Landed in the movies!
Starred in " Merry-Go-Round of 1938"!
Now charms Broadway in "I'd Rather Be
Right"! Joy's fresh start made a new star
who brought fresh joy to millions. "
YOU'LL miss a lot in life if you
stay in the rut of old habits and
never risk a FRESH start. Take
your cigarette, for instance. If your
present brand is often dry or soggy,
don't stay "spliced" to that stale
number just because you're used to it.
Make a fresh start by swinging over to
FRESH, Double-Mellow Old Golds . . . the
cigarette that's tops in tobacco quality
. . . brought to you in the pink of smok-
ing condition by Old Gold's weather-
tight, double Cellophane package.
That extra jacket of Cellophane brings
you Old Gold's prize crop tobaccos with
all their rich, full flavor intact. Those
two gate crashers, dampness and dry-
ness, can never muscle in on that double-
sealed, climate-proof O.G. package.
It's never too late for better smoking !
Make a FRESH start with those always
FRESH Double-Mellow Old Golds.
TUNE IN on Old Gold s Hollywood Screenscoops, Tues.
aod Tburs. nights. Columbia Network, Coast-to-Coast
76
Here's why the O.G. package keeps 'em fresh
Outer Cellophane Jacket
Opens from the Bottom,
sealing the Top
The Inner Jacket Opens H
at the Top, K
sealing the Bottom H
Copyi iglu, 1938, by P. Loi-iUard Co., Inc.
WHOM WILL TYRONE POWEB
MURRY?
(Continued from page 35)
that Tyrone's Moon square Saturn suggests
marriage to a girl older than himself. At
the risk of giving away trade secrets, we
here divulge that Sonja, as well as Janet,
saw the light of day before the Great
Moment had uttered his first cry.
But it takes more than liking the way
a girl dresses her hair to have a man,
especially of Tyrone's stamp, stand in
the aisle waiting for someone in a white
veil to come , and breathe "I will." Speci-
fically, it takes some cooperation on the
part of the planet Mars, which lends the
needed fire.
This is where little Sonja loses out.
Her Mars is in Pisces, square to Saturn,
and it's Saturn that sits squarely on Ty-
rone's Venus. This is an attraction of
sorts, and sometimes a pretty violent one,
but it doesn't usually last. Tyrone
is a free soul, independent as all get-out,
especially where his love life is concerned.
If he ever felt for one minute that a girl
thought him securely tied up, he would
automatically break for the open coun-
try.
Sonja's Saturn on his Venus very like-
ly made him feel confined, obligated, if
you like. This probably wasn't Sonja's
fault. She values independence as much
as he does, maybe more. But with her
Venus in Taurus, she'd just naturally ex-
pect the man who loved her to feel the
way she did — sewed up. Venus in Gem-
ini simply doesn't ever feel that way;
and the pressure of Sonja's Saturn on
Tyrone's Venus, plus the square of Mars,
caused the break.
JANET GAYNOR, however, is some-
•J thing else again ! Her Libra nature is
excellently suited to understand Tyrone's
attitude toward love. She has Venus in
Scorpio, opposed to her Moon in Taurus,
giving her just the kind of glamor to
Here's one Hollywood couple
about whom you'll never hear
a rumor of anything save hap-
piness. Al Jolson and his
Ruby Keeler, see a bit of night
life together.
!
MODERN SCREEN
turn Tyrone's head. And, in addition
to this, there is between their horoscopes
that dynamic signature of the attraction
fatale, her Mars on his Moon !
This is precisely the condition between
two horoscopes that causes a romantic
■ young man like Tyrone Power to kick over
the traces and forswear everything in the
past, for the sake of "The woman I love."
When a romantic meets up with this con-
dition, the rest of womankind pales into
insignificance. If he's married, he may
even get a divorce, so as never to lose the
glamorous creature who has captivated
him. It is the Tristram and Isolde, Abe-
lard and Eloise, Romeo and Juliet combi-
nation. The sad thing is that it doesn't
line up to the preliminary fireworks. It
burns out. It dies. It causes heartbreak,
and it generally leaves the man feeling
that now he has seen life, now he knows
the truth about women, now he is a
cynic, and he is never going to love anyone
again.
This isn't Janet's fault. There's noth-
ing flighty about her horoscope. She isn't
the kind of girl to lead a man on (least
of all a man young enough to be her
kid brother) and then break his heart just
for the fun of it.
Tyrone thinks she means something that
she doesn't mean. He misunderstands. She
likes him, she's attracted to him (who
isn't?) but she isn't going to marry him.
And if Tyrone broke Sonja's heart, he may
learn before very long how it felt.
OF course, there's always the chance
that the glamor of Mars on the Moon
will last long enough to lead the vic-
tims to the altar. But there isn't enough
between Janet's horoscope and Tyrone's
to make an enduring marriage. Tyrone
has obstacles to overcome (his contract
says he can't marry) and while he's over-
Beauty and the beast. In other
words, Katie Hepburn with
Nissa, the leopard who is Baby
in "Bringing Up Baby."
Off the set with Michael. La
Hepburn declares her pet Cock-
er Spaniel is a bit more de-
pendable than Baby.
coming those obstacles, the fires are going
to cool, considerably.
The point of the whole matter, however,
is that it doesn't look as if Tyrone is going
to marry at all for awhile. With Uranus
in his Sun this year, he has glamor aplenty.
It would be criminal for him to concen-
trate it all on one girl, even such a worthy
one as Sonja or Janet. He might do any-
thing under this condition, even marry,
because Uranus on the Sun is about as
impulsive a condition as can exist in his
already impulsive and romantic horoscope.
Jupiter also inclines him to marriage in
this, his twenty-fourth year.
But we are still inclined to doubt that
he'll marry very soon. He might marry
and get a swift divorce. We expect him
to be in the market for some time to come,
a sadder and a wiser young man, with the
additional heart-appeal of having learned
what it is like to sul¥er.
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77
MODERN SCREEN
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78
LET'S TALK ABOUT MIRIAM
(Continued from page 27)
begged for the part," announced Selznick.
"The only one who hasn't approached me
is Miss Hopkins, and actually the public
has given her more votes than anybody
else."
Then he bowed charmingly. And that
was that.
"I never heard from him," admitted Miss
Hopkins. "But it was dramatic, the way
he walked in, wasn't it?"
"Dramatic things seem to happen to you,"
I said. "What about the time they say you
were broke and borrowed money from Otto
Kahn, or isn't that true?"
"You bet it's true," laughed Miriam.
"But no one knows the whole story."
So she told it to me.
It was in the days when Miriam was a
young Broadway actress whose engage-
ments were rare and short. She had opened
in a show called "The Garden Of Eden."
It had been a hit in London because of a
part played by Tallulah Bankhead, a part
in which Miss Bankhead profitably shocked
the audience by undressing on the stage.
Miriam played that part here, but when it
came to the undressing, friends told her
rnother not to mind because "Miriam looks
like a schoolgirl going to bed."
"Maybe that was why the show closed,"
grimly adds Miriam now. "Anyway it
left me broke. And I had a theory ... if
you're broke don't borrow money from your
friends. Don't tell your troubles to the
switchboard girl, just go and borrow from
a regular banker. So I did."
"But how?" I asked.
"Otto Kahn had backed 'An American
Tragedy,' in which I played Sandra. I
asked a columnist friend for his telephone
number and from the newspaper office we
called him. Mr. Kahn didn't remember me
until I reminded him of Sandra. Then he
made an appointment.
"I remember it was a sweltering hot
day. The waiting room outside his office
was air cooled. It was the first time I ever
sat in an air cooled room and I was very
impressed. On the way down I had re-
hearsed what I intended saying. I planned
to ask for five thousand dollars and be very
nonchalant about it. I wanted to pay most
of my debts. I wanted to have the feeling
of owing everything just one place. With
the rest of the money I wanted to buy a
roadster and take a vacation.
"All this I was going to say to Mr.
Kahn, but as I sat waiting I grew petrified.
Several very elegant looking striped-
trousered bankers sat waiting too, and as
the minutes passed I couldn't remember
one word of my speech. I finally was
ushered into his office. It was a great long
room and I seemed to walk miles before I
reached his desk. By that time I could only
blurt out one sentence. It was, 'I've come
for cash !'
"He was very businesslike about it. He
made a list of my debts. He didn't approve
of the owing-one-place method. He be-
lieved in scattering your payments. I had
no security to offer. But I promised to
pay him back out of future salaries. So he
gave me a check for twelve hundred-and-
fifty dollars. I raced straight back to
the newspaper office to show this to my
friends who wanted to frame it!"
Then this happened, this, so typical of
Miriam. She had paid Otto Kahn four
hundred-and-fifty dollars and had eight
hundred more to go when she was offered
a stock engagement at five hundred dollars
a week ... or the chance to marry Austin
Parker and live in a small French village
on next to nothing.
"I wrote Otto Kahn a note and said I
had chosen Austin because 'a girl could
always get a job in stock, but it was not
so easy to get a husband !'
"Mr. Kahn must have liked the note be-
cause, when he came to France, he invited
us to dinner. I finally paid the debt, and
he wrote me that of all the people to whom
he loaned money, the writer, Frank Harris,
and I, were the only people who paid him
back. Of course I was very proud of that
note and kept it."
I stared at her then, stared at her sitting
there before me, looking more like the
kid who impulsively rushed to Otto Kahn
than a star who owns one of the few New
York houses boasting a garden.
SHE wore a beaver trimmed cloth coat,
and a dark blue dress with a blue and
green plaid scarf wound schoolgirl-like
around her throat. And on her shoulder-
length hair was perched, no fifty-dollar
French creation, but her five-and-half-year-
old son's blue beret ! This, mind you, in
a popular New York restaurant during a
crowded luncheon hour. And I liked her
Between scenes of "A Slight
Case of Murder," Edward G.
Robinson tickles the ivories,
much to the amusement of
Harry Seymour.
Nope, it's not romance, just a
family affair. Doug Fairbanks
Jr., is explaining what goes on
on the "Having Wonderful
Time" set to his cousin, Letitia.
MODERN SCREEN
Director W. S. Van Dyke and
Nelson Eddy are snapped as
they leave the theatre following
a preview of "Rosalie."
for it, this naturalness ... no crayoned
eyebrows here (they're light, like her hair)
and no false eyelashes, just a rosy face
that has a certain squareness about it.
"I haven't much resistance. I've had a
bad cold for weeks." And her eyes looked
watery. I liked her for that too, for be-
ing a movie star with a cold and eating
in a public place.
And I reminded her of a part she once
played, the role of a swanky heiress with
a bad cold, a girl who sneezed constantly.
She laughed. "I remember. It was 'The
Richest Girl in the World.' We had a lot
of furf making that. It only took a month,
and every afternoon we'd knock off at four
to play tennis. And everyone liked the
picture."
She sighed. She was very tired. She
had stepped off a California-New York
plane to walk directly into rehearsal for
"Wine of Choice," a new Theatre Guild
play with Leslie Banks and Donald Cook.
And she had this cold.
"My little boy caught it from me in
California. You know how children climb
all over you. I feel so sorry for him.
She slurs her words together. She speaks
so quickly that she choked on a piece of
steak, and I found myself slapping her
back.
She says a lot of things, says them fast.
About temperament. "If you start acting
temperamental it's an awful nuisance to
keep it up."
A.bout players. "Spencer Tracy is the
screen's best. And I think George Raft
is a good actor. But take my word. Jack
Oakie could and should be doing serious
roles. I once saw him rehearse a scene
with two tears running down his cheeks,
which shows he really feels."
About women. She says she dislikes
those who pose coyly under picture hats
and change their personalities when a man
enters the room.
And then, just as fast as she spoke,
so fast did she suddenly rise with a "Let's
get out of here before they say I'm always
late to rehearsals."
Without putting on the beret she ran
hurriedly across the street to the theatre,
but not before several girls, matinee-bound
saw her, and even with the red nose, the
watery eyes and the cold, they smiled in-
dulgently, exclaiming, "Isn't she cute !"
She is.
• "My stars, Mrs. Fox! A dog's been chasing your baby? I'll tie an
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79
MODERN SCREEN
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WHAT-H-MAN MORRIS
{Continued from page 31)
"Aw, heck," said Wayne, tipping back in
his chair, "do I have to stay here and Hsten
to this?"
"You do. We wouldn't dream of talking
about you behind your back, so you may as
well be a brave little man and face it."
Wayne fortified himself, by ordering
cokes all around. Then he lit a cigarette
and obscured himself behind a smoke-
screen, or tried to, but Priscilla's blue eyes
penetrated the veil while she said, "It's the
way he looks at a girl, haven't you noticed?
He practises on me all day."
"You know better, Priscilla. You know
that—"
"He practises on me all day," continued
Priscilla firmly, ignoring him.
"Now, you take Wayne at lunch time.
He never sits next to a girl, he always sits
opposite her so that he can get that look
in, with its devastating effect. And it de-
vastates. He watches everything a girl
does, too, see, look, like he's doing now !
He just sits with that rapt, intent look and
takes in every little gesture, every motion,
looking as though he just can't believe it,
it's all so wonderful and new and almost
divine. That's the real reason for his be-
ing so attractive to girls, you see. He
makes each and every girl believe that she
is the one and only girl ever born onto this
earth, or ever likely to be born."
"You know very well, Priscilla — "
THEN there's his laugh. He has a sort
of shining laugh that seems to come
bouncing right out of his heart. He makes
a girl laugh, too, and feel that everything
is pretty much all right with the world.
He's the life of the party type, only in the
sense that he's so full of life, so gay.
"He's quiet, though, with it all. He's not
the bombastic show-off type. And he can
talk your heart right out of you. He makes
you believe that he's right and you are
wrong no matter what the argument may
be. And somehow, you like it. He doesn't
use only his enormous physical strength,
he uses the old beano as well. And he sings
and plays to you," continued Priscilla, de-
murely, ignoring the Morris moans. "It's
marvellous.
"Now I have sung on the radio for
quite some time. But whenever I start a
song Wayne finishes it for me and carries
on from there. He can sing in several
diiJerent keys, too, almost at the same time.
And then he can top any wisecrack I can
think of making. And I earned my living
for quite some time making wisecracks on
the air. But every time I pull one, he pulls
a better one. You've got to respect a man
with a brain like that, you know.
"And then, besides all this," said Pris-
cilla, lowering her voice a degree, "he's
considerate. He's thoughtful and tender
and he's very respectful. He never says
anything to a girl that he couldn't say in
front of her mother or in front of her
little sister, aged eight. There is something
old-fashioned about Wayne in his way with
girls. And he's interesting, and very attrac-
tive, because he is, superficially, so modern.
He knows all the answers. It's sort of a
putting-a-girl-on-a-pedestal attitude which
is, of course, completely fatal to us all."
"Now, Priscilla, where do you get that
'us all,' you know very well that "
But Priscilla was saved. She was called
to the set and she left, saying, "I've fixed
everything ! He'll fix me for this after you
leave. You'd better stay around and protect
me or there'll really be headlines !"
And then Wayne came out from behind
his smoke screen and said, "She's the
swellest girl I've ever known, isn't she?"
To which purely rhetorical question I said,
"Do you really think so?" Wayne grinned
and nodded his head and then said, "But do
we have to talk about romance and all
that? I know that people like to read about
romance, but there's been so much of the
stuff written about me it's getting kind
of silly, and it's very embarrassing. Besides,
it's bad publicity for me.
"I'd rather have it written that I appear
at benefits and things. I'd rather talk for
publication about my favorite color, which
is red, and my favorite flowers, which are
all kinds except orchids and about how I
Nothing pretty-pretty about Bob
Taylor here! It's all part of the
fun in his latest picture, "A
Yank At Oxford."
It could be wedding bells for
Frances Longford any day in
the week. Ken Dolan will tell
you. He's that persistent.
80
I
MODERN SCREEN
Michael Whalen and Dixie
Dunbar, stepping out together,
were surprised by Modern
Screen's roving camera man.
collect suitcase stickers and drive a small
car and about my pets, a police dog and a
horse and about how I like everything to
eat except vegetables, especially chocolate
fudge sundaes, with nuts."
"Why is publicity about your romances
bad for you?"
"Because I haven't had any, for one
thing," said Wayne pleasantly but firmly
(but he didn't look towards Priscilla as
he said this) "and so it's pretty silly. I
read that I've been out with some girl I
haven't seen for two months and they give
one date a two months' hangover. And it's
kind of stupid for both of us. But that isn't
the important thing. It's bad for me be-
cause the studio reads that I've been seen
at this place and that, with this girl and
that and they call me to the mat and tell
me I'm going too much, keeping late hours
and that it's apt to affect my work, that
sort of thing. It isn't true. I don't go out
often nor stay up late.
BESIDES, I don't have and never have
had as many dates with as many
different girls as fellows do who are in
college or working in banks or gas stations.
I've only taken out some six or seven girls
in the whole year and a half I've been in
pictures. And I know fellows, friends of
mine, who take a different girl out two and
three times a week. And it's perfectly
normal, isn't it, for a fellow who's single
and over twenty-one, to ask different girls
for dates? It's only because I'm in the spot
I'm in that anyone pays any attention to it,
finds anything to remark about, figures that
it's a romance every time it's a date."
"Then it hasn't been love, it hasn't been
romance, with any of these dates?"
"Gosh, no !" laughed Wayne. He said
this quite loudly, Priscilla being within
loud-speaking earshot. "I don't go around
falling in love with every girl I ask to have
dinner with me. The girls don't go around
falling in love with every guy who asks
them out. We've just had a swell lot of
fun together, that's all. They're swell girls.
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too, the girls I've had dates with. They're
the kind of girls I like, regular girls, with
laughs up their sleeves, the kind of girls
who like to go on the roller-coasters and
eat hamburgers and act like human beings.
"I wouldn't go for any of these exotic
types, kind of strange and sireny. One
thing is sure, you meet as nice girls in
pictures as you'd meet in any exclusive
suburb, college, country club or deb party
anywhere in the world. Girls like Olivia
De Havilland and Anita Louise and Cecilia
Parker and Priscilla, all of them. Where
could you find sweller, nicer girls?" But
when he said "Priscilla," his voice dropped
an octave and his eyes found her and had
that look in them that gave a flash of the
Morris tenderness.
"Then you are evidently not susceptible,"
I said, "for. if you were, you would cer-
tainly have fallen in love once or twice."
"I'm not susceptible at all.
"I haven't even thought I was in love,
until — " he broke ofif, began again. "There
has never been any talk of love between us,
the girls I've gone out with and me. Most
of us, like Priscilla and me, for instance,
are just starting our careers and — "
"You're at least five good jumps ahead
of me," called Priscilla, overhearing this
last, as she was intended to.
"That's the way it should be, sweetheart,"
grinned Wayne (but he meant it, you could
see).
"And," he went on, "I couldn't fall in
love, not really in love, until I had known
a girl for quite a long while, and very well.
I don't think you can call it love until you
know all about a girl, her likes and dislikes,
her habits, the way her mind works as well
as the way her eyes smile, her character.
"You see, when I marry I want it to be
for all of my life. And you can't be as sure
as all that unless you've had time and op-
portunity to be sure, can you?"
Priscilla laughed.
WELL, we've been going out together
for over a month," said Wayne, "and
working together every day on the set. I
guess that's' both time and opportunity,
woman."
"I know it is," said Priscilla, and the
seriousness in her voice, in her eyes, the
way they looked at one another, gave the
first sure suspicion that this^ "date" of
Wayne's may Idc "for all my life."
Wayne is, he said, in his nice, frank
smiling way, kind of old-fashioned where
women are concerned. He doesn't, for in-
stance, believe that girls belong on the golf
links. Golf, he says, is a man's game.
"When I slice a ball I make comments that
I wouldn't want any girl I cared about to
hear. I don't believe in taking a girl to the
fights. For you know what happens at the
fights. Some guy in back of you will yell,
'Kill the so-and-so,' and then, if you have
a girl with you, she will say, or think, that
you ought to knock the guy duwn for using
such language where she can hear it and
you feel like saying, 'Well, you haven't any
business to be here at all,' and then there's
trouble, one way or another. I don't think
girls should sit in on poker games. That's
all men's stuff and women should keep out
of it, or be kept out of it."
"Then you sort of believe that woman's
place is in the home, huh?"
"Yep," Wayne said, "I do. I wouldn't
want my wife to work. I certainly wouldn't
want to be married to a big star."
"Can you imagine," gurgled Priscilla
joyfully, "Wayne being called 'Mister
Greta Garbo' or something I"
"No one'll have a chance to imagine it,"
said Wayne, darkly. "I don't believe
marriages like that work out. And if a
man is married to a big star and their
marriage is going on the rocks because of
it, it's up to the woman to give up her
career and save her marriage."
"Hear, hear !" said Priscilla.
"Of course," continued Wayne, imper-
turbably, "if two people, a girl and a boy,
just beginning on the screen, their careers
comparatively equal, should fall in love and
get married, that might be all right. It
would then be up to the man, as it is up
to the man in any walk of life, to keep
ahead of the girl, to be more successful,
make more money than she does."
"And if the girl should be the one to
get way ahead," I said, "and the marriage
should be threatened because of it, it would
be up to her to drop out of the ranks, is
that it?"
"Yep," said Mister Morris, and his eyes
were on Priscilla and was that his heart
in his eyes or was it not?
I said, "Look here, I don't want to have
to yell 'you hit me, you unspeakable brute'
to you, Wayne, but if you two are going_ to
do any Yuma-ing in the near future, I think
I ought to know. I don't want to come out
in print and say that Priscilla Lane and
Wayne Morris are just "another date,"
only to have the newspapers announce on
the self-same day that Wayne Morris and
Priscilla Lane have middle-aisled it (credit
Winchell).
June Lang was very much
among those present at the pre-
view of "Love And Hisses."
She was escorted by A. C.
Blumenthal, her most frequent
companion these days, but Mr.
B. preferred not to pose.
MODERN SCREEN
"Oh," said Wayne, "it's serious enough.
Of course, she hasn't given me a ring yet,
I'd like a nice opal."
"We're very serious," agreed Priscilla,
flourishing the coke bottle in Wayne's gen-
eral direction, "although he does get a lot
of phone calls, even on the set, and always
says they are from an assistant director he
knows."
"I've got to get my feet more firmly on
the ground than I have them now before
I can even talk about marriage," said
Wayne. "This being nearly 'a star over-
night' is all very exciting and flattering but
a star can fall quicker than it can rise, too.
I've got to get more money in the bank, a
house built."
"He's going to make his first trip to New
York very soon, too," said Priscilla, with
sweet thoughtfulness. "Of course, he could
drop into Cartiers while he is there, if he
has time," she added. "I don't believe in
big weddings."
"It will, I mean, it would be an elope-
ment," Wayne said, "although a Hollywood
wedding minus a photographer or two
among the flowers might not be legal."
And then they both stopped kidding be-
cause this, obviously, is no kidding matter.
And they said that honestly, they don't
know yet, they haven't really talked about
it much and they haven't set any date. That
was all they would say.
But just the same, girls, at any moment,
now, you may hear that Wayne Morris has
made his last, and permanent date.
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MODERN SCREEN
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PROFESSIONAL MARRIAGE
(Continued from page 37)
pucker our brows and bite our lips and
wonder whether we will be able to keep
marriage romantic and things like that.
"Johnny and I are not afraid of anything.
We're not afraid of losing our careers ;
we're not afraid of losing love. We have
all the confidence in the world that every-
thing's going to be all right for us.
"We won't sacrifice our personal lives to
our careers any more than we will sacrifice
our personal lives to domesticity. When
we are invited to a party we don't refuse
to go because we are working and must
save ourselves for our work. If we feel
like going to the party, we go to the party,
without going into a huddle as to the
why of it all.
"Our housekeeping is very simple. We
have a Filipino houseboy and a maid, and
they do everything there is to be done
around the house. Johnny plans the meals
and orders them because he did it before
he was married. I never did, because
mother did it for me. I never know what
I'm going to eat until I sit down and eat
it. I'll admit that there are occasional
drawbacks. The other day, Phyllis Fraser
(Ginger Rogers' cousin, you know, and
one of my very best friends) and Paula
Stone and I were having lunch together at
the Vendome. I ordered an enormous order
of chicken a la king, and ate every bit
of it. When I sat down to dinner at home
that night I had chicken a la king, an
enormous order and ate every bit of it.
We're not fussy about small things.
"We run our lives independently, much
as we always did. We do our jobs inde-
pendently. Like today, I'm having an in-
terview with you and Johnny is having a
portrait sitting at Paramount. We talk
things over, of course. We give each
other good advice, we hope. We have our
same crowd, Phyllis and Paula and the
others. We see quite a lot of Mischa Auer
and his wife and their little boy, who live
in the same apartment house we do. We
don't go in for formal entertaining in our
crowd. We just get together and have
last-minute impromptu supper parties and
play the radio and dance and sometimes
we all doll up and go to the Troc. We
play tennis and swim and we're all sun-
worshippers."
Anne waved to Ginger, sitting across the
room. , She made a face at Eric Blore who
made a face back at her. She managed
to drop a checkbook while exchanging
greetings with Jack Oakie, who took off the
tablecloth and waved it. She retrieved the
checkbook, tapped it on her glass, laughed
and said, "This is the only difference mar-
riage has made in my life ! I now keep
a checkbook carefully. Before I was mar-
ried I always wrote counter checks and
never knew whether I had one dollar or one
thousand in the account. I know now. I
wouldn't make out a counter check to save
myself from hunger."
"Do you do the family bookkeeping?"
"No," Anne explained. "You see, it's
different with couples who are just do-
mestic, I guess. Then, one or the other
takes over the reins of government and
attends to all such matters as checkings
accounts, bills and so on. It's different
when both are earning. We divide things,
in a way. Johnny pays all the household
expenses, rent, servants, food, public utili-
ties, cars. I only pay for my own clothes
and what I do for Mother. The rest of
my money I save. Which is the way it
should be."
Anne, when not yet twenty, had built
a substantial trust fund for her mother,
had given her two houses. This little girl,
born Dawn Evelyn Paris, who didn't have
too auspicious a start in life, who was born
in New York City, half orphaned when
she was an infant in arms, added to the
family income by posing for commercial
artists when she was fourteen months. At
three, did her first bit in a picture ; at four
played in a picture with Pola Negri. Then
her talent beyond question, came to Holly-
wood and, with her mother, living with
rigid economy, struggling constantly for
work, conquering that oblivion which so
often submerges the child star when she
grows up, was able, while still in her teens,
to do what many a substantial business man
in his forties is only beginning to hope for.
There's stuff in this Shirley child, strong
stuff.
SWANK AT OXFORD
{Continued from page 10)
of fine brown wool, as is the little coatee
worn over her shoulders. An especially
attractive masculine feature is seen in the
brown checked "waistcoat," with the imi-
tation pockets piped in brown, and brown
wool-covered buttons. The neat-looking
shirt, collar, tie and cuffs are of off-white
pique.
THE schoolgirl's clothes seem to fall
into two general classifications, those
she wears to class and for sports, and her
"date" dresses. For Maureen when she's
out of college environs, Hubert created a
smart outfit. The slender, fitted skirt with
three-inch slits at the side is of mid-blue
wool cloque, a very popular fabric this
season. The close-fitting jacket is of the
same material, faced and backed with
panels of dark blue velvet, relieved by
pocket trimming of mid-blue. The jacket
zips up the front, and the small round
collar, the tie, and slide fastener covering
are of pale blue pique.
When you've seen all of the costumes
Maureen wears in this picture, you'll decide
that the life of the Oxford gal isn't so
bad, and you'll understand why the Yank
fell in love with this young lady.
However, if you're looking for inspira-
tion, you don't have to go to Oxford, for
you'll find plenty in other current pictures.
In "Hold 'Em Navy," Mary Carlisle
wears sets of a leather calot, belt, gloves
and bag, and her favorite is of dubonnet
suede, which she wears with a light grey
tweed skirt and top coat and a lovely pale
blue angora sweater.
Speaking of sweaters, the uniform of the
American campus, Lana Turner has no less
than twenty-five in her personal wardrobe.
One is of blue brushed wool, and buttons
in back with seven wooden buttons, carved
to simulate the heads of the dwarfs in
"Snow White," Walt Disney's latest mas-
terpiece. You're going to see the "Snow
White" influence a great deal in fashions
this spring, not only in trimmings, but in
fabric patterns and even in hat styles !
Rosalind Russell's clothes will give you
84
MODERN SCREEN
Judging from their smiles, Bob Director John Ford. Joel has his In "Love and Hisses" we ll bet
Cummings and his pretty wife most important role to date in the hisses aren't directed at love-
must have enjoyed their eve- this picture, and Frances is the ly Simone Simon, who demon-
ning at "Wells Fargo." love interest. strates her ability as a songbird.
plenty of ideas, too. Study carefully her
costumes in "Man-Proof." Roz is num-
bered among the ten best dressed as "the
perfect sportswoman — an ideal example of
clean-cut American womanhood. She excels
everyone in the manner she wears tweeds."
A new angle in hat fashions is being
introduced by Joan Blondell. In "The
Perfect Specimen," most of her hats were
made of the same material as her dresses.
Inspired by this clever ensemble idea, Joan
is now having all her hats made to match
her dresses.
Franciska Gaal, who plays opposite
Fredric March in "The Buccaneer," was
so entranced by the pirate sashes that
Freddie wore in the picture that she has
had several of them made up in bright red
silk jersey and wears them on plain black
dresses. This is a wonderful idea for
rejuvenating your basic black dress.
If the stars themselves garner many of
their style ideas from pictures, then you
certainly can, too.
J\^w tAisnew Cream wifk
SKDV-WKMEV
The "skin -vitamin" is now in a beauty cream!
Four years ago doctors barely suspected that
a certain vitamin was a special aid to the skin.
They applied this vitamin to wounds and burns.
And found it actually healed them quicker!
This is the amazing "skin-vitamin" which is
now in Pond's Vanishing Cream.
Pond's Vanishing Cream was always great for
smoothing your skin for powder, and overnight,
too. Now the use of Pond's "skin-vitamin" Van-
ishing Cream actually nourishes your skin!
The regular use of this cream will make your skin
look richer, fresher, clearer.
Same jars, same labels, same price
This new Pond's "skin-vitamin" Vanishing Cream is
in the same jars, with the same labels, at the same
price. Remember, the vitamin it contains is not the
"sunshine" vitamin. Not the orange-
juice vitamin. But the vitamin that
especially aids skin health — the pre-
cious "skin -vitamin"! ,
Melts Roughness ^J^,
Holds Pov^''^^ \\ ^
"NOW IT
NOURISHES,
TOO . . .
my skin looks
richer ..." says Miss
Geraldine Spreckels
I have always praised Pond's Vanishing Cream. Tt smooths skin so wonderfully
after exposure. Now it is grand to know that it is doing more for vour skin all the
time you have it on. It eertainly keeps my skin in perfect rondition . . ."
^ Test It In
9 Treatments
roiulV Dcpt.yMS.VF.CliiiKm,
Conn. Kush Hpecial Inhe of
FoihI'h "Hkiii-vitninin" Van- Name-
inhinf,' Oeaiii, enouffli for 9
treatnionta. wiih nainpleB of
2 other Pond's "Bkin-vita- Street
tnin" CreaniB and 5 different
shadcH of Pond's Face Pow-
der. I cnrloHC 10(f to cover City —
poHtapc and packinf;.
-State
Copyright, 1938, Poml's Extriict Company
85
Now millions praise
the new
SCIENTIFICALLY
IMPROVED
EX-LAX
To MILLIONS of people, Ex-Lax was the
perfect laxative. They thought it couldn't
be improved. And now here's the big news! —
double news! — important news! . . . The
laxative they said couldn't be better is better!
Better in these three important ways:
TASTES BETTER THAN EVER!
Ex-Lax now has a smoother, richer choco-
late taste. You'll like it even better than before.
ACTS BETTER THAN EVER.'
Ex-Lax is now even more effective. Empties
the bowels more thoroughly, more smoothly,
in less time than before.
MORE GENTLE THAN EVER!
Ex-Lax is today so remarkably gentle that,
except for the relief you enjoy, you scarcely
realize you have taken a laxative.
No matter what laxative you're using, you owe it
to yourself to try the new Scientifically Improved
Ex-Lax. At all druggists in 10c and 25c boxes.
THESE NEWCOMERS HAVE WHAT IT TARES TO MARE THE MOVIE
AfO TENVEn GUMS OH PULL
TEETH IN MY FAMILY/ WE ALL
USE rOnHAM*S AND MASSAGE.
FORHAN'S HAS A SPECIAL
INCKEVIENTFOJi
THE GUMS IN IT.
This family has regular
dental serviceand they do
their part at home by gum
massage with Forhan's
carefully twice each day.
Brushing teeth, massaging gums with
Forhan's makes teeth gleam with new
brilhance, helps make gums firm, healthy.
For generous sample send lOfi to For-
han's, Dept. 319, New Brunswick, N. J.
Forhan's isli
CLEAffS TEETH AIDS GUMS
Lynne Carver
Anthony Quinn
86
GMDE, AND WE PREDICT THAT THEY'LL BE WELL ON THEIR WAY TO STARDOM THIS YEAR
Ilona Massey
Kenneth Howell
Jane Bryan
Dick Baldwin
'Hands
SHOifLV W
says
(COLUMBIA PICTURES STAB)
"HANDS EXPRESS EMOTION and
beauty," says Luli Deste, "and should re-
ceive the care necessary to keep them
exquisite. This rule applies as much to
home life as to professional life." Girls —
prevent ugly chapping, keep hands lovely
with Jergens Lotion!
Chapped, Rough Hands soon Soft and
Smooth when Lotion goes INTO THE SKIN
YOUR HANDS get rough and
chapped when water, wind and
cold rob the skin of moisture.
But Jergens Lotion easily replaces
the lost moisture because it goes into
the skin. Of all lotions tested, Jergens
goes in the most completely. Leaves
no stickiness. Quickly soothes chap-
ping. In no time, Jergens makes
coarse red hands attractively soft,
white and young-looking.
Two fine ingredients in Jergens
are the same as many doctors use to
soften and whiten. For exquisite
hands — use Jergens. Only 50)i5, 25(^,
10(4, $1.00— at all beauty counters.
Fronciska Gaal
Priscilla Lane
Lull Deste with John Boles in "SHE MAR-
RIED AN ARTIST '-rf COLUMBIA PICTURE.
\sl0noN
FREE: PURSE-SIZE BOTTLE OF JERGENS
See for yourself — entirely free — liow effectivel>
this fragrant Jergens Lotion som in — softens
and whitens chapped, rough hands.
The Andrew Jergens Co. 1639 Alfred Street
Cincinnati. Ohio. (In Canada, Perth, Ontario
Name-
Street—
il'l.t^ASE I'RLNTl
City-
-Slate-
MODERN
Among others who turned out for the big open-
ing racing meet were Walter Connolly and
Jack Holt, who are talking over the best bets
of the day. It's serious business!
AT SANTA ANITA
No racing meet would be complete without Al
Jolson and his Ruby Keeler. They're usually
the first to arrive and the last to leave. Al's
a good loser, too.
SCREEN
George Brent believes in reading up on all the
dope, but we'll bet he didn't remember much
of it when the excitement began. "He Did"
was the favorite to win, and he did!
Spence Tracy just can't make up his mind.
Everybody he knows has given him a different
tip and to hear them tell it, he can't lose.
Oh, yeah?
88
MODERN SCREEN
As this was snapped, Connie Ben- Ronald Reagan and Lana Turner got right into the spirit of
nett was a lot more interested in things by wearing their riding clothes. No fancy duds for
her hot dog than in what horse them when it's racing day. All they're interested in is the
was running when. winnah — but then, who isn't?
89
MODERN SCREEN
TAMO
'., YOU S H;0 OLD K INI
AB © y T
FEiif HE 1Y6IENE
A SIMPLE EASY WAY
Proved by More Than
47 Years Use
"TT^EMININE hygiene"
V how mucli depends
upon these two words! Yet
how little is known about
them!
That is why we ask you to consult your doc-
tor. Or, send today for a free copy of "The
Answer" which frankly discusses this vital sub-
ject. It also explains the simplified Boro-Pheno-
Form method of feminine hygiene which more
and more modern wives are adopting.
For over 47 years Boro-Pheno-Form has
proved to thousands of satisfied users that it is:
1 Simple — One dainty suppository has
the same special fxmction of solutions.
2 Convenient — Complete in itself. No
mixing, measuring or awkward acces-
sories are required. Odorless, too.
3 Sofe — Utterly harmless to delicate tis-
sues. No danger of overdose or under-
dose. Soothing.
Your druggist carries Boro-Pheno-Form com-
plete with directions.
MOVIE-STAR BEADTY FOR YOD
|)r. Pierre's
Bp_Rp...PH_ENO:_FOR^
Dr. Piehre Chemical Co., Dept. 14-C
162 N. Franklin St., Chicago, III.
Please send me a free copy of "The Answer."^
Na
Address_
Toum
15
DIAMOND
To Introduce HOLLYWOOD'S
Newest ORIZABA Diamond re-
productions. Dazzling^, Brilliant,
Full of Blazing Fire (worn by Movie
Stars) we will send V2 Kt. simulated
Brazilian DIAMOND MOUNTED IN SOLID
GOLD effect ring as illustrated (looks like
S150. gem) for 15c sent postpaid. Money
back if not delighted. AGENTS WANTED.
FIELD'S DIAMOND CO.— Dept. IVlS-510
S. HtllSt.. LosAngeles, Calif. (2for25c.)
VEGETABLE
lAXATIVE
What a Difference!
IF you think all laxatives act alike . . • just
try the ALL-VEGETABLE laxative,
Nature's Remedy (NR Tablets) ... so mild,
thorough, refreshing and invigorating.
Dependable relief for sick headaches, bil-
ious spells and that tired-out feeling, when
caused by or associated with constipation.
Wlthnilt Dick set a 25cbox of NRs from any
flllllUUllllolldruggist. Use for one week;
if you are not more than pleased, return the box
and we will refund
the purchase price.
That's fair. Try it
(^Continued from page 41)
and for this reason I'm in favor of 'em.
Daily brushing, a hundred strokes, up-
ward and out, will assure you a pliable,
healthy textured hair, an important requi-
site or the coiffure won't stay put.
That means oil before every shampoo,
massage every other day or so, for ten
minutes, and that's another reason I'm in
favor of 'em. And then, too, I think a
change is nice every once in a while, a
cMange for you, a different gal for your
beau or husband to look at.
But — a very large-sized but — these new
hair-dos are hard where hats are concerned.
You'll have to pick hats very carefully.
With no softening effect at the back of
the neck or alongside the ears, you can't
wear a beret or a cornfortable pull-on. You
can wear toques, high hats, big hats, all
the goofy little confections that emphasize
the forward movement or the upward
movement.
Such hats must be carefully selected, they
can't be too cheap, they must be put on
with a great deal of care and worn with
considerable chic and dash. If, I say if,
you can manage all these factors, I'm in
favor of the upward movement in hair-
dressing for you. And there are more
"ifs."
If your face is average in shape and
size, okay. If it's thin, go in for a slight
bang, which will widen the face a little,
and don't pile the hair too, too high. If
yOur face is heavy in bone structure, if
you have a large jaw and wide mouth, say,
you must pass up the high-piled locks and
stick to the softening effect of waves over
the ears and a medium-length bob or
medium-placed knob. If your face is
plump, but not heavy in bone structure, ex-
periment, and be careful.
I told you my feelings were divided on
the subject. Generally speaking, I'm all
for the upward trend, but women are so
apt to fall for anything new and never
give a thought as to suitability, I felt duty-
bound to express all these cautions.
Tsk, how that Marshall woman does
digress ! I'm supposed to be a-telling you
how you can have a spot of movie star
Tomorrow
Mickey Rooney and Betty
Jaynes, two of Hollywood's
younger stars, at a premiere.
beauty for your very own, and I must get
on, I must. How about your eyes, now?
I've got more to say this month about
eyes than the good old one-two-three about
eye make-up.
I'VE picked Marjorie Weaver to illustrate
^ one very important point — eye exercise.
Marjorie, as you know if you saw her hit-
making appearance in "Second Honey-
moon," has the prettiest pair of peepers
we've seen in many a day. However,
when she first began working under the
wicked studio lights, she couldn't help
blinking and squinting, her eyes watered
miserably, and she was inclined to stare.
The studio dramatic coach made her do a
simple exercise, every day for ten minutes :
look to the left, look up, look to the right,
look down. Do it quickly, but make each
direction in which your eyes glance abso-
lutely definite.
You don't have to suffer the glare of the
Kliegs, but you do many things which are
almost as hard on the eyes : long hours
of reading, fine sewing, copying ill-written
material on the typewriter, perhaps, driv-
ing a car (and is night driving hard on
the eyes ! ) , such things, if done under un-
favorable conditions, cause eyes to lose
their natural sparkle, get bloodshot, and
also bring that vertical line on the fore-
head which makes you look old before your
time.
The exercise I've borrowed from Mar-
jorie's coach is good. Covering the eyes
with a piece of black velvet and lying down
for a few minutes is good. Eye baths of
weak boric acid solution are good. Cover-
ing the eyes with pads of cotton soaked in
ice cold witch hazel is just as good as
"expensible" herbal eye-packs you see ad-
vertised, though the eye-packs do smell
nicer. It's a sad thing, by the way, that
the most beautiful eyes often have the
poorest sight.
I don't know whether optical science
could back this up with any statistics, but
I've often known girls with lovely soft
brown eyes and big blue orbs, not to be
able to read the fine print, while un-
glamorous green and nondescript hazel
eyes kept eagle-like seeing ability until old
age. What am I leading up to now^ you
ask? Eyeglasses, my darlings. If you
have the least suspicion that your sight
isn't of the best, get some glasses for rest-
ing, reading, going to the movies or what-
ever the doctor orders. Don't read on a
moving vehicle. That's tough on you com-
muters, who catch up with your literature
on the 8:15, but it's not as tough as hav-
ing continual headaches later on. Have
at least one good 75 or 100 watt bulb in
the house for reading and sewing at night,
and have the light coming over your left
shoulder.
So much for sensible beauty hints, now
for sumpin' more frivolous. If your eyes
are naturally lovely, you don't need any
help, but if they're just so-so, or on the
uninteresting side, practice patience and
ingenuity can give them some touch of
movie star allure.
Sit down before a brightly lighted mir-
ror some evening-at-home, and experiment.
Have a jar of oily cream, like a good
tissue cream, or a tube of vaseline. A soft
eye-pencil, the one made by the famous
gent who makes most of the beauty-aids
used by the movie stars is best. Brown
is the best shade. Have several shades
of mascara and eye shadow, purchase the
small sizes in the five and dime store.
MODERN SCREEN
It still goes on, the perennial
romance between George Raft
and Virginia Pine. A handsome
couple they make, too!
Make up the rest of your pan as you usual-
ly do.
Now, begin drawing lines around your
eyes. Have you deep eyelids — that is, is
there a lot of space between lash and eye-
brow to work on? Try the ''Garbo lin-
ing," drawing a thin line deep into the lid,
where it goes back into the eye socket.
Yuh can only do this if your lids are very
deep. Are your eyes small? Try some
eyeshadow on the outer half of the lid and
blend it on way out toward the temple. Help
this effect by lengthening your brows with
pencil. Have you that type of lash which
doesn't seem to take mascara at all, rather
thick and rather short and straight? Try
this : apply cream or vaseline, then
powder right over it, then put on the
mascara. I ain't in favor of false eye-
lashes offscreen, but you can even try those
if you want to. Remember that everything
put on the eyelids must , be blended, the
lines blurred a bit, not to look freakish.
Well, now, we've touched on hair and
eyes and I want to say a word about skin.
Something new has bobbed up under the
good old sun : a facial mask that can be
purchased without mortgaging the old
homestead to do so. In fact, you make dis-
yere mask yourself, with a few table-
spoons of a well known household and bath
preparation, a little cold cream, and a little
Grade A, or even Grade B, if you're trying
to cut down the milk bill. The package
carries instructions for mask-making for
normal or oily skins, for a dry or sallow
skin, and a very quick mask that is re-
freshing for any type of skin. It's simple,
costs but a few cents, and does wonders
toward reconditioning a tired or over-oily
skin. Ze coupon at ze end of ze article
includes a request for the name of this pre-
paration.
Ze coupon also includes a request for
M.M.'s present of the month. A remedy
for that universal blot upon feminine skin-
beauty — blackheads. Consistent application
will remove them and, what's more, reduce
large pores amazingly. Only a little of
this cream need be used at one time. Try
my sample offer, and then see if you don't
want to keep up the good work.
THERE'S one beauty point I've never
touched upon in these articles, I be-
lieve, and that's teeth. Of course, I feel
that teeth are a dentist's job, not mine,
but I'd like to say a few words here, on
accounta I see so many pretty faces marred
by terrible toofies. Good teeth are a feature
every movie star must have. Jeanette Mac-
Donald, now, have you ever thought how
much her perfect teeth add to her charm-
ing appearance in singing close-ups?
Beiroyerot Beauty
Seborrhea*
of Shiny Nose
Chiet cause
^ Oiliness results in unflattering shine. Dermatologists identify exces-
sive oiliness as Seborrhea, Germs aggravate this condition. Wood-
bury's Powder retards germ-growth, helps subdue nose shine.
BEAUTY editors have written reams
about Shiny Nose. Every girl who
owns a mirror has pleaded for longer-
clinging face powder. Yet what's been
done to conquer Shiny Nose? Something
startling! Woodbury's Facial Powder is
now germ-free and helps overcome nose
shine as it glorifies your skin!
Shiny Nose May Be Aggravated
by Surface Germs
Dermatologists say the oiliness that makes
your nose shine is often due to Seborrhea.
Germs aggravate this condition. Your
innocent-looking powder puff may be
spreading harmful germ-life to your skin.
Now you realize the beauty need for
germ-free powder that will convey no
germs to puff or skin. Tested with 19
other leading brands, Woodbury's, alone,
proved germ-free both before use and
after contact with a germ-laden puff.
Give your complexion a seductive
bloom with Woodbury's Powder, a sur-
face loveliness that brings no aftermath
of oily shine. The seven glorious shades
are as natural as life and as young as
you'd like to appear! Windsor Rose, for
instance, a blend of creamy-pink and ivory-
peach, is becoming to almost every skin.
This flattering powder comes in the
smart blue box at $1.00, 50^, 25(}, 10^
Complete your make-up with Woodbury's
Germ-proof Lipstick and Rouge.
Send for 7 Thrilling Youth-Blend Shades
John H. Woo.lliury, Inc., 9187 Allrca St., Cincinnati. Ohio
(In Canada) John H. Woodhury, Ltd.. Perth, Ontario
Please send ine 7 shades of Woodbury's Facial Powder: trial
tubes of two Woodbury's Beauty Creams; guest-size Wood-
bury's Facial Soap. I enclose 10c to cover mailing costs.
Name
Street ^_
Ci'y . Slate
91
MODERN SCREEN
POWN WITH
PIRT.AHP
GERMS !
WITHOUT
AIASTY
SCRUBBING
• Sani-Flush is made to do a job
you hate. It cleans toilets scientifi-
cally— without scrubbing. You
don't even have to touch the bowl
with your hands. Just pour in a
little of this odorless powder. (Follow
directions on the can.) Flush
the toilet and the job is done.
Stains vanish. Odors go. Germs
are killed. The hidden trap that no
other method can reach is clean.
Sani-Flush cannot injure plumb-
ing connections. It is also effective
for cleaning auto radiators (direc-
tions on can). Sold by grocery, drug,
hardware, and five -and -
ten -cent stores. 25c and
10c sizes. The Hygienic
Products Co., Canton, O.
CLEANS TOILET BOWLS WITHOUT SCOURING
CATARRH or SINUS
Irritation Due to Nasal Congestion
CHART FREE!
Hall's Catarrh Medicine relieves phlegm-filled
throat, stuffed up nose, catarrhal bad breath, hawk-
ing.and Sinus headaches caused by nasal congestion.
Relief or Vour Money Back. At all Druggist's. S«nd
Post Card forFreeTreatinentChart.65yearsin business
F. J. CHENEY & CO.. Dept. 33, TOLEDO. 0.
Use CAMILLE RUN-R-STOP to save
your stockings and prevent embarrass-
ment. A drop of Run-R-Stop Cream stops
a run or snag permanently before it has a
chance to ruin your stocking. HAND-
SOME RED and BLACK VANITY pro-
tects tube in purse. Only lOi- Ask for it at
chain, department and shoe stores.
Guaranteed by Good Housekeeping
as advertised therein
R U N - R -STOP
CAMILLE INC.— 49 East 2 1st Street. N.Y.C.
92
Sonja Henie goes into a tricky
routine for one of her skating
numbers in "Happy Landing."
They're absolutely perfect, cared for since
childhood, with twice-a-year trips to the
dentist, vigorous scrubbing after every
meal and all that.
Your teeth needn't possess movie star
regularity to pass everyday tests, but they
must gleam with cleanliness and be de-
cently spaced and set. If you smoke quite
a bit, watch out for the tartar that forms
on the backs of your teeth, and double the
professional cleanings every year, for you
can't get this tartar off yourself. Use
dental floss once a day. At the least sus-
picion of a twinge, barge off to the D.D.S.
I recently had the tiniest bit sawed off'n
rny two upper middle teeth. That frac-
tion-too-much had kept me from having
a good "bite" all my life and having it
removed really did improve the shape of
my mouth.
Pain and inconvenience? None whatso-
ever. Cost? Five bucks. Nowadays, too,
wonderful things can be done about
straightening very irregular teeth, no mat-
ter what the age of the patient. It's not
cheap, but if your teeth really mar your
appearance and you can squeeze out the
money, it's well worth it.
Good lands, I've only space left to touch
upon two other phases of movie star beauty
this month. One is hands, and the other
is legs-plus-feet. Hands first.
Remember such fundamental things as
using a lotion every time you wash your
hands, wearing warm gloves that are plenty
big in cold weather (you should see the
New York debs sporting angora mitts to
all the swanky affairs) and buttering your
paws with cold cream and wearing white
cotton gloves to bed if you must do hard,
dirty work with your hands. Put cuticle oil
or vaseline on your nails at night.
And here are some hand tricks from
Miss Carole Lombard herself, whose
beautiful mits you see on page 40. She
says that a coating of colorless polish, ap-
plied over the colored polish, will keep
the varnish from cracking for a heck of
a long time. She says that thick fingers
will slim down miraculously if you mas-
sage the fingers from the tips to the palm
— as if you were putting on a pair of new
gloves. She says if you want to be
This is a cinch, she'll tell you.
It's all in knowing how to stay
on your feet.
"utterly-ut" some night at a party, rouge
the palms of your hands and your finger-
tips, just the very least bit. And she says
furthermore that a famous director told
her never, never to make a gesture with
her hands unless it expressed something
definite. And that goes for everyone ex-
cept Zasu Pitts.
r)ANIELLE DARRIEUX, the eye-
filhng little miss from Bordeaux,
Fr-a-a-ance, who is soon to make her
American debut in "The Rage of Paris,"
has the best looking underpinning that has
hit these shores since Marlene Dietrich
came over from Germany to sulk so
glamorously on our local screens.
"Well, my legs would never stop traffic,"
says you, "so what?" So this: you can
slim fat ankles by this exercise : sit on
the floor, brace yourself with your hands,
your legs sticking straight out. Bend and
stretch your feet, trying to make your toes
touch the floor. You can slim fat calves
somewhat by stretching the living daylights
out of them. Get some husky friend to pull
your legs while you hang on to the bedpost
or something. You can build up skinny
legs, first, by building up all over if you're
thin, and second, by bicycling or doing the
bicycle exercise.
More leg-work: wear stockings that fit,
fit not only your feet but your legs, too.
Several excellent manufacturers specialize
in short, medium, and tall hosiery lengths.
If you're not particularly proud of your
legs, wear dark-neutral shades, not too,
too sheer. Not black, nothing is more
revealing. Don't kid yourself that tricky
heels, single and double V's and stuff,
make your ankles look slimmer. Just the
contrary is true. A black suede, high-
heeled pump is the most flattering shoe in
existence. If your feet are large, when you
must wear lighter colored shoes, get those
with a dark or contrasting tip, strap and
heel, or some such arrangement. And, to
close on a more cheerful note, if your
legs and feet are pretty, glamorize 'em
and dramatize 'em all you can. The sheer-
est hose, skirts the new short length fashion
dictates. The silliest little slippers for
dress-up affairs.
MODERN SCREEN
To do this, all you need is a
pair of ice skates, if your
name's Sonja Henie!
Now something on this order
looks simple enough, but ap-
pearances are often deceiving.
Finale. Sonja looks just like
a little girl about to make her
curtsey, doesn't she?
The shops are even showing sheer black
hose decorated with spangles for evening
wear. This year, anything goes in the
way of splendor and luxury. If you've
got the money, and the pretty legs, Ma-
dame Marshall says play them up for all
they're worth.
Mary Marshall, Modern Screen, 149 Madison Ave., New York, N. Y.
Please send me : □ Sample of blackhead remedy
□ Name of facial mask. Enclosed find 3c stamp.
Name
Address
I PAY THE CHECK- AND
TOM TAKES HER HOME
PHIL, TESTS INDICATE THAT76% OF
ALL PEOPLE OVER THE AGE OF 17
HAVE BAD BREATH. AND TESTS ALSO
SHOW THAT MOST BAD BREATH COMES
FROM IMPROPERLY CLEANED TEETH.
I ADVISE COLGATE DENTAL CREAM ,
BECAUSE... f
93
MODERN SCREEN
Don'i Hesiiaie Ahoui
Feminine Hi|giene
Use a modern method
Why add to the problems of life by worrying about
old-fashioned or embarrassing methods of feminine
hygiene? If you doubt the effectiveness of your
method, or if you consider it messy, greasy, and
hateful, here is news that you will welcome.
Thousands of happy, enlightened women now en-
joy a method that is modern, effective — kills germs
— and, equally important — dainty 1
ZONITORS ARE GREASELESS
Zonitors offer a new kind of suppository that is
small, snow-white and GREASELESS! While easy
to apply and completely removable with water,
Zonitors maintain long, effective antiseptic con-
tact. No mixing. No clumsy apparatus. Odorless
— and an ideal deodorant.
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REVIEWS
(Continued from page 61)
*★* Hollywood Hotel
From now on, when you say Stupendous,
Colossal and Gigantic you'll be speaking
of "Hollywood Hotel." It's that kind of
a picture. Loud and funny, big and
dazzling, it offers a wide variety of enter-
tainment for all types of movie-goers. It's
the type of musical some people dream
about, for the cast includes such vocal
and instrumental favorites as Dick Powell,
Rosemary Lane, Frances Langford, Jerry
Cooper, Johnny Davis and the bands of
Benny Goodman and Raymond Paige.
Story concerns a saxophone player who
arrives in Hollywood to make good in
pictures. From there the plot takes in
everything from drive-in stands to the
Hollywood Bowl. Musical numbers are
plentiful, the best being "I'm Like a Fish
Out of Water," "Let that Be A Lesson
to You" and "Silhouetted in the Moon-
light," sung by Dick Powell and Rosemary
Lane. In the acting department, there is
a gorgeous caricature of a temperamental
glamor girl, played for swell comedy by
Lola Lane, a grand portrayal of a hammy
leading man by Alan Mowbray, and first-
rate performances by stand-bys Glenda
Farrell, Hugh Herbert, Allan Joslyn,
Edgar Kennedy and most of the support-
ing cast. In addition, there is the presence
of Louella Parsons and company to bring
joy to the hearts of the radio fans.
"Hollywood Hotel" is spectacular, a bit
ornate at times, but a really entertaining
musical film. Directed by Busby Berkeley.
— Warner Bros.
T^"^*ril Take Romance
You can add "I'll Take Romance" to the
current crop of whimsical farce, and you
can put it up toward the top of the list —
if you happen to be a list-maker. Followers
of Grace Moore will be happy to know that
their favorite comes through handsomely,
and most other picture-goers will find the
proceedings highly enjoyable.
No struggling singer hoping for recogni-
tion this time, Miss Moore starts off as an
established star of the Metropolitan Opera.
Plot — if you can call it that — is entirely
concerned with her decision as to whether
she'll go to Paris or to Buenos Aires for
concert engagements. She is about to leave
for Paris when Melvyn Douglas arrives
from South America to persuade her to
change her mind.
Miss Moore sings everything from
"Madame Butterfly" to "She'll be Comin'
'Round the Mountain," and handles her
light comedy role with considerable deft-
ness. Melvyn Douglas is perfectly cast as
the romantic gentleman from South Ameri-
ca, and there are splendid supporting roles
by Helen "Westley and Stuart Erwin. Di-
rected by E. H. Griffith. — Columbia.
Every Day's a Holiday
It's Mae West to whom "Every Day's a
Holiday" — and she makes the most of every
rnoment. The result is one of the best West
pictures to date. Though her wisecracks
aren't as flagrantly wise as before, Mae
gets in plenty of good remarks, in the same
manner as of old, which have the audience
chuckling from the first minute she undu-
lates into view.
The story has Mae in the role of a light-
fingered lady by the name of "Peaches,"
who has warrants out for her arrest in
every corner of the globe. But Peaches
manages to get around very nicely, picking
up an ermine wrap and a diamond bracelet
here and there — even picking off the cops'
badges as they tell her of the error of her
ways. Edmund Lowe is the copper who is
most intent on her trail and though he
earnestly wishes to land her in jail, it all
ends up with the arm of the law around
Mae's gay nineties' waistline. Another man
in her life is Lloyd Nolan, a crooked politi-
cian who means nobody no good — including
our heroine. Now Mae has no time for
him, and after she's gone to work, the good
citizens of New York have no time for
him, either. Honest Edmund gets the
mayorship after a gala election-night
parade with Louis Armstrong leading the
band and Mae playing the trap-drums.
Besides the excellent work of the princi-
pals, there are good performances by
Charles Winninger, Walter Catlett, Char-
lie Butterworth and Chester Conklin. Di-
rected by Eddie Sutherland. — Paramount.
** Hitting a New High
Lily Pons is perhaps the only Metropoli-
tan Opera star in existence who looks good
in a feather. In "Hitting a New High,"
Miss Pons wears several feathers, and
nothing more, throughout most of the pic-
ture. Her feathers and her voice furnish
Among other luminaries in
"HoUy^vood Hotel" are Dick
Powell and Frances Longford.
"Every Day's A Holiday" and
why not, with Mae West and
Edmund Lowe in the casti
94
MODERN SCREEN
HERE'S ONE JOB THAT DIDN'T
"Man-Proof" is Myrna Loy's
next, with Walter Pidgeon
trying to disprove it.
most of this film's better moments, although
Jack Oakie must be credited with a good
share of its successful comedy.
The rotund Mr. Oakie, as a breathless
press agent for a slightly goofy impresario
(Edward Everett Horton), discovers Miss
Pons singing in a night club. Horton won't
give her an audition because he wants to
get away to Africa on a game hunt. So
Oakie ships the gal to the jungles, where
she becomes a "bird girl," and Horton,
amazed at her voice, "discovers" her. The
story goes on from there, but you can
figure it out when you see it.
Miss Pons sings the Mad Scene from
"Lucia," as well as several popular num-
bers, best of which are "Let's Give Love
Another Chance" and the title song.
Edward Everett Horton does what he can
with a highly implausible role, and Eric
Blore tries rather unsuccessfully to make
the role of a clarinet player funny. In
brief, the picture belongs to Miss Pons
and J. Oakie. Directed by Raoul Walsh.
—RKO-Radio.
** Man-Proof
Myrna Loy m the role of "the other
woman" is novelty enough to make this
fairly interesting entertainment. Main fault
is that the picture is too talky — a few jolts
of action would have made it a first-rate
comedy drama.
Miss Loy and Rosalind Russell are both
romantically interested in Walter Pidgeon,
a fortune hunting young man who looks
up their financial ratings and marries Miss
Russell. Myrna takes it courageously, and
even acts as bridesmaid at the wedding.
After the ceremony she starts a determined
campaign to win the guy back, in spite of
the pleadings of a newspaper artist friend
(Franchot Tone), who insists that Mr.
Pidgeon is something of a rat.
Of course, everyone knows that Myrna
will wind up as the bride of Franchot
Tone, but the picture has its bright mo-
ments. All four principals deliver spirited
performances, and in addition there is a
fine portrayal by Nana Bryant, as Miss
Loy's mother. Directed by Richard Thorpe.
—M-G-M.
You're Only Young Once
The story deals with a family of four
and their vacation trip to Catalina Island.
Mickey Rooney and Cecilia Parker, as
the children, have reached the "getting
ideas" age, and it's up to their kindly father
to keep them on the right track without
losing their friendship. His task is no
cinch, for Mickey has taken up with a
No girl who offends
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"Someone I'd be proud of," Bill thought.
So he asked Ann out to his club.
The night was glamorous and the
music was good— but Bill's interest died
with the very first dance. Ann had
thought a l^ath alone could keep her
sweet— and one hint of underarm odor
was enough for Bill. Others in the office
noticed, too. Ann lost the job she wanted
—the job that might have led to love.
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95
MODERN SCREEN
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"I'll Take Romance," says
Grace Moore and Melvyn
Douglas doesn't mind.
thrill-seeking young lady of sixteen — who
is determined to have "done everything"
by the time she's eighteen — and Cecilia has
fallen for a handsome life guard who
means her no particular good.
Mickey Rooney steals the picture with an
hilarious portrait of a young man about
to experience Life. The young lady in his
case is admirably portrayed by a promising
newcomer, Eleanor Lynn. Cecilia Parker
is appealing as the daughter, and Ted
Pearson does well in the role of the life
guard. Lewis Stone, as the father, brings
sympathy and understanding to _ the_ part,
and Fay Holden does a similar job in the
role of the mother. Directed by George
B. Seitz.— M-G-M.
i^iir Checkers
When it comes to having a good time
for herself, Jane Withers can't be beat.
And though some of her audience may
admit it grudgingly, it's a pretty good bet
that they enjoy Jane's good times, too.
The laughter and handclapping of her pre-
view audiences is proof enough, to say
nothing of that latest consensus which
placed the Withers gal right up there with
the glamor girls for box-office draw.
As for "Checkers" it's easily one of
Jane's best pictures — not only because it
gives her plenty of chance to air all her
tricks, but because there's a grand cast to
bolster up the plot. Stuart Erwin has_ a
made-to-measure role as the horse fancier
whose favorite trainer is little Janie. Stu
can drive as hard a bargain as anyone
when it comes to the race-track— but he's
such a softie when anyone is in trouble
Jack Oakie and Lily
Pons get together for
"Hitting A New High."
that he and his trainer very nearly end
up in the poorhouse. Una Merkel regards
Stu as the most romantic and exasperating
man she's ever known in her life, and
though love finally blooms, it takes an
awful beating. There's Minor Watson,
a dentist and veterinary, who is after Miss
Merkel's hand and farm, to add complica-
tions, and then there's trouble between June
Carlson and Marvin Stephens, which has
to be ironed out before everybody's happy.
There's the grand finale with Jane tear-
ing down the track to become "the "win-
nah 1" Directed by Bruce Humberstone. —
20th Century-Fox.
i^i^ Beg, Borrow or Steal
The title of this picture represents the
philosophy of Frank Morgan, the gentle-
man around whom the story is built. As
casual as he's charming, Mr. Morgan drifts
through his life in France, turning a dis-
honest dollar often enough to get along.
His most lucrative racket is selling old
masterpieces (about two weeks old) to
Americans with too much money. It takes
his beauteous daughter, Florence Rice, to
turn him from a hypocrite and a thief
into an upstanding citizen, and it all comes
about through some pretty hilarious situa-
tions. In order to marry his daughter off
in style, Morgan poses as the lord of a
chateau which he has rented ■ for the
occasion and moves his "gang" in as
scenery. Florence intends to marry the
stuffy Tom Rutherford, but once her blue
eyes have lighted on the caretaker of the
chateau, John Heal, everything is different.
Directed by William Thiele.— M-G-M.
Mickey Rooney and Elea-
nor Lynn do all right in
"You're Only Young Once."
Jane Withers and Stu
Erwin contribute many
laughs in "Checkers."
96
Kent Taylor tries to im-
press Wendy Barrie in "A
Prescription for Romance."
** Lady Behave!
Maybe we're too easily pleased— or may-
be it's just force of habit. Anyhow, we
think Sally Eilers is a swell little actress
and can make a "B" picture good entertam-
ment any day. "Lady Behave!" gives her
sincerity and friendly charm a good chance,
for she's cast as the older sister of a
scatter-brained babe who marries an extra
husband after too many champagnes.
Rather than see her sister thrown into jail
for bigamy, Sally poses as the wife of
husband No. 2 (Neil Hamilton)— who is
very pleased about the whole situation when
he sobers up. However, his children, Marcia
Mae Jones and George Ernst, are not.
Things get pretty involved between one
thing and another, before Marcia Mae,
George, Neil and Sally settle down to
anything that remotely resembles home,
sweet home. — Republic.
"^Prescription for Romance
The prescription, in this case, is handed
out by the lovely Wendy Barrie, who is
authorized to do such things — being a
doctor in an Hungarian clinic. However,
this isn't a tale of pretty nurses and hand-
some internes. It's the story of one of the
most ruthless criminals ever to flee the
United States with a million dollars of
stolen currency in his overnight bag.
Henry Hunter is the gentleman in ques-
tion, and having left one blonde (Dorothea
Kent) at the New York pier, he heads
right for his other blonde in Budapest.
Wendy would just as soon never lay eyes
MODERN SCREEN
READING TIME LESS THAN 2 MINUTES • AND WELL WORTH EVERY WOMAN'S TIME
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97
MODERN SCREEN
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When you see "Snow White
and the Seven Dwarfs,"
she'll steal your heart.
on this boy friend again, but he explains
that he's been unjustly accused of a crime
and she must hide him. Now the fact that
handsome Kent Taylor is the detective on
the meanie's trail makes a swell oppor-
tunity for Wendy and Kent to meet and
further the acquaintance under many
strange circumstances. Love just couldn't
help blooming, of course, and several reels
are nicely taken up by the involved ex-
planations.
As an Hungarian count with nothing to
his name but a white poodle and charge
accounts all over Budapest, Mischa Auer's
performance makes it possible to take
"Prescription for Romance." Directed by
Sylvan Simon. — Universal.
•k-k^i^ Snow White and the
Seven Dwarfs
"Snow White," Walt Disney's much
anticipated feature-length cartoon, is here
at last — and it is a pleasure to report that
as screen entertainment and as an artistic
achievement it is a remarkable piece of
work. Loaded with comedy and scenic
beauty, it also has pathos and tragedy. So
realistic are the cartoon figures that many
people in the premiere audience wept when
Snow White died.
Snow White, as you may recall, is the
young princess whose beauty so annoyed
her wicked stepmother that she planned to
kill her. Snow White escapes into the
woods and finds the house of the seven
dwarfs. When she cleans their house and
cooks for them they all fall in love with
her and ask her to remain with them. Her
happiness is cut short when the wicked
queen, disguised as a witch, offers her the
poisoned apple which causes her death.
Snow White is so beautiful the dwarfs
refuse to bury her. Then the Young Prince
arrives — with cheers from the audience — ■
and administers "love's first kiss," the only
known antidote for the poisoned apple.
There is, of course, jubilation among the
dwarfs and the forest animals when Snow
White comes tO' life and rides away with
the handsome "S'^oung Prince.
Best of the comedy is furnished by the
dwarfs and the frantic little animals who
help Snow White with her work. Of the
dwarfs, a cantankerous little guy named
Grumpy and a moonstruck young man
called Dopey will be most fondly remem-
bered. Snow White herself is symbolic of
all that is beautiful and good in the world,
just as the wicked queen is the embodiment
of all the evil.
Mr. Disney, take a bow^ — in fact, take
plenty of them. — Walt Disney.
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98
MODERN SCREEN
-ir Mama Runs Wild
When you know that Mama is Mary
Boland, and that in this picture she's
politically-minded, you have a pretty good
idea of how wild things really do run. As
pretty and as dazed as ever, Miss Boland
manages to get everything in the civic and
domestic life of her home-town in a ter-
rible dither. When she unwittingly be-
comes the means of discovering some
dangerous outlaws, it suddenly occurs to
our heroine that she has been shamefully
neglecting her duty by confining all her
talents to running her home and husband.
Having managed her husband, Ernest
Truex, with such indisputable success all
these years, she hits upon the plan of all
the women in her town managing all the
men, and thereby forming a community
which would be the model of all com-
munities in the country. Then the fun be-
gins. Directed by Ralph Staub. — Republic.
*** Wise Girl
Miriam Hopkins, in the role of a mil-
lionaire's daughter whose leisure is de-
voted to shooting of¥ foreign counts, gives
an excellent account if herself. She has
other things on her mind besides titles —
principally winning the custody of her
sister's two children, who have fallen into
the hands of a crowd of Greenwich Vil-
lagers and Ray Milland. Since the chil-
dren have adopted Ray on their own, there's
nothing to do for the frantic aunt but
have her go to the Village incognito, get
in with the gang, and win back the
youngsters. The fun begins from the min-
ute she starts her new life and builds up
to a hilarious climax after some pretty
tough going for our heroine. "Wise Girl"
ought to be a safe bet for anyone. Directed
by Leigh Jason. — RKO-Radio.
Henrv Fonda —
starring in Walter
Wanger's "I Met
My Love Again".
helps girl
win beauty crown
"TWO GIRLS WERE RIVALS for the
title of Beauty Queen of the Ice Carni-
val. Peggy told me how anxious she
was to win . . .
"SHE WAS VERY ATTRACTIVE, but
I noticed that winter wind and cold
had chapped and cracked her lips —
spoiled her beauty . . .
A couple of the girls get
together and talk it over.
Wendy Barrie and Sonja
Henie.
"I TOLD HER that I'd heard many fam-
ous beauties of the stage and screen
mention a special lipstick with a rich,
protective Beauty-Cream base . . .
"PEGGY WAS CHOSEN Queen of
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it was my advice about this lip-protec-
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INDEED, I'M GRATEFUL TO HENRY FONDA
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SCENARIO BY HENRY lONDA
99
MODERN SCREEN
Moonlight, plus soft music and
Rosemary Lane mean one thing
to Dick Powell. Right, a song.
Rosemary likes it, too,
even though it's all for art
in "Hollywood Hotel."
"How versatile you are!"
smiles Miss Lane, as Dick
goes into his whistling act.
THEIR BEST INVESTMENTS
spending spree suggested that he do extra
work in English pictures until the time
came when he could find a more suitable
occupation. After the first few days of
work, he decided that he liked motion pic-
tures very much, and he made up his mind
that he would stick to them.
Ann Sothern's selection of the best in-
vestment of her life is even more para-
doxical than Ray Milland's. Her best in-
(Continued from page 42)
vestment was the purchase of two hundred
shares of worthless gold stock.
You see, when Ann first began to earn
money, she knew nothing about how to
invest it. Quite early in her "financial"
career, she purchased this gold stock,
guaranteed to double and perhaps triple in
value within a week or two.
"I was foolish enough to believe this,"
she said.
Today, she is one of the canniest of
Hollywood investors, and she says she
owes her caution to the phoney gold stock
which she carefully keeps as a warning
against gullibility.
For a long time Hollywood has been
aware of the clannishness of James Cagney
and his family. Nevertheless, I was sur-
prised when James Cagney said, "The best
investment I ever made was when I
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Why, Rosemary! And right
in front of the camera man,
too. Unbend a little, Dick.
brought my brother Bill out to Hollywood
with me to handle all my business affairs."
Bill Cagney, as you may remember, got
several good picture breaks shortly after
his arrival in Hollywood. Though James
Cagney had hoped his brother would take
over the management of his affairs, he
unselfishly encouraged him to take those
jobs when they came along.
But all of Bill's early training had been
in business, and he wasn't very happy in
his work as an actor. So he gave it up to
devote himself entirely to managing his
brother's business affairs.
"It made me feel good to have Bill at
my side to fight my business battles for
me," James Cagney told me. "Even in
early childhood I sensed keen business
acumen in my younger brother, and as he
grew older I became convinced that he
had the best business head of any man I
ever knew. After meeting most of the
business big-wigs of Hollywood, I still hold
to that opinion.
"And, above all, I have a sense of calm
security with my affairs in the hands of a
man who is impelled by brotherly affection
to make my welfare his paramount con-
cern. Actually, the investment I made was
only nominal, for the entire expense in-
volved was the price of a railroad ticket."
Today, Jeanette MacDonald is even more
famous as. a singer than as an actress, but
she would in all probability have remained
a straight dramatic actress touring in stock
had it not been for what she considers the
best investment she ever made.
"Taking singing lessons was my best in-
vestment," she said. "Because I had pro-
gressed fairly well as a dancer and an
actress, my friends thought it a silly idea
and a waste of money for me to take
vocal lessons. Practically everyone I knew
opposed it, but being stubborn, I went
ahead." . „t,.
Anyone who has seen Jeanette m May-
time" or "Firefly" knows why she calls
this the best investment of her life.
Anne Shirley says the best investment
she ever made was just twelve dollars and
ninety-five cents — the total cost of the
clothes she bought for her first interview
with Director Al Santell, when she was
trying to win the title role of "Anne of
Green Gables."
Anne, fifteen years old at the time, need-
ed that part terribly, for she and her mother
were down to their last few dollars. So
they used the money to buy these clothes,
which were carefully selected to make Anne
(then Dawn O'Day) look as much like
Anne of Green Gables as possible.
The dress was navy blue silk with a
navy blue jacket and had little blue and
That's better. We know a lot
of boys who'd sing a song
foi a reward like this one!
white checked pique collar and cuffs. The
hat was navy blue taffeta.
So well did the director like Anne in
these clothes that he gave her the role.
Believing that getting this role was the
turning point in her life, she changed her
name from Dawn to Anne Shirley, the
name of the heroine of the picture. The
change in name seemed to bring her good
fortune, for from obscurity she flashed in-
to sudden success.
Joel McCrea believes that it was a
twenty-five dollar investment in a trench
coat which led to his first successful screen
role. He was walking across the RKO lot
in the trench coat when he was noticed by
Producer Bill Sistrom.
At the time Joel was getting about fifty
dollars a week. Sistrom walked over to him
and said, "You're an actor, aren't you?"
"Yes, I have a small contract here," Joel
said.
"Okay. I think you're just the type to
play the lead in 'The Silver Horde.' Go
over and tell Archainbaud to put you in
the lead for that picture."
This was followed by increasingly im-
portant roles. Joel claims that it was his
swaggering appearance in the trench coat
that started it all, and he still treasures
the coat. Rosalind Russell doesn't like to
put friends on a profit and loss basis, but
she declares that her friendship with Char-
lotte Winters was about the best investment
she ever made.
ROS.A.LIND had come from New York
with a short-term contract at one of
the smaller studios. When her contract
was up Rosalind packed her bags and
bought a ticket for home, deciding that
pictures were not for her, and that she
didn't like them anyway.
Her friend Charlotte Winters, the act-
ress, begged her to remain in Hollywood,
and suggested that she take a test at
M-G-M for "What Every Woman Knows,"
inasmuch as she had played the role of
Lady Sybil on the stage.
But Rosalind was so disappointed with
the way things had gone in Hollywood
that she would not listen to Charlotte's
suggestion. She told her friend frankly
that she had no intention .of spending any
more time in a fruitless endeavor to get
somewhere in pictures.
In spite of Rosalind's indifference, Char-
lotte Winters went to the casting director,
told him about Rosalind and asked him to
give her a call. He did.
"So tongue-in-cheek," Rosalind con-
fessed, "I came. And what a break! I've
been here ever since."
Fred MacMurray feels that the seventy-
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Nothing like a
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five dollars he invested in his first saxo-
phone when he was in high school was the
best investment he has ever made. He
bought the instrument with money earned
in a bean cannery during summer vaca-
tions, and played in high school and college
orchestras with it. His playing won him a
spot in the California Collegians Orchestra
and in the Broadway musical, "Roberta."
At the opening night of "Roberta," Oscar
Serlin, at that time talent scout for Para-
mount, saw a boy who played the saxo-
phone and gave a half minute's imitation
of Rudy Valee. At the time the name Fred
IV[ac]\lurray, meant nothing, but in that
brief time Serlin got a sudden hunch, and
sent for MacMurray.
On asking Oscar Serlin what he saw in
the unknown boy, who has since confessed
that during most of his performance he
was buried by "two piccolo players, a
bass viol and the rear of a grand piano,"
he said, "Raw masculinity, looks and an
infectious personal charm."
If it hadn't been for the saxophone, he
wouldn't have had a chance to discover any
of these things.
Ginger Rogers' best investment was
playing a small role. After she had been
a success on the New York stage, she
came to Hollywood hoping to find even
greater popularity in pictures. But things
simply did not break right for her. For
six months, while her agent was looking
for "important parts," she did nothing.
Finally she was oiiered a bit at very
little money. Her agent was horrified, and
her friends advised Ginger against accept-
ing it. They warned her that she would
be relegating herself to the ranks of bit
players, and since Hollywood always pig-
eonholes everyone, she would thereafter
find it impossible to step out of that class.
However, Ginger decided to invest her
time in this small role. The picture was
"42nd Street" and Ginger's clever playing
of her small part resulted in bigger roles.
This investment in work colored Ginger's
entire career, fot she determined from then
on to work hard at what she was ofifered
regardless of its seeming importance or
unimportance. As a result of this belief she
did "Flying Down to Rio," worked hard
at it and accepted third billing. This led
to six more pictures with Astaire and to
greater box-office popularity than she had
dared to hope for.
Carole Lombard's favorite investment is
a hobby, an avocation and a business all in
one. She has derived more enjoyment and
profit from a forty-acre parcel of alfalfa
land which she purchased two years ago in
the San Fernando Valley than from any
other mvestment she has ever made. It was
bought at a very low figure when land
values had diminished considerably. With
the expert care she has given it, this
property is now worth much more than
the purchase price.
Carole Lombard gets a good deal of pleas-
ure out of running the farm successfully.
THE greatest investment George Burns
and Gracie Allen ever made was their
decision to adopt their two babies, Sandra
and Ronald Jon. Of course, the adoption
changed the children's lives completely, but
It changed George Burns and Gracie still
more.
Though they were always charming and
likeable show people. Burns and Allen were
at one time completely wrapped up in
themselves ; but today almost everything
they do is for their adopted babies. Where-
as they were once content to live in a hotel,
today Burns and Allen have a home of
their own, with an outside nursery.
"One day," she says, "I took Sandra
down to George's office, but unfortunately
he wasn't in. 'Oh, I'm so disappointed,' I
said to Sandra. That night Sandra, fixing
her large blue eyes on George, said sternly,
'Daddy, I disappointed in you.'"
The investment of George Burns and
Gracie Allen was in happiness.
Joan Fontaine's best investment was
made when she was only thirteen. The
investment was a dog-eared copy of "Peter
Pan," purchased for sixty-eight cents in
a second-hand book store. This staggering
purchase left Joan broke until allowance
time came around, but she didn't care. The
story was so real to her and came to mean
so much that she decided to play it on
the stage one day.
Most children get stage struck, but they
usually get over it. Joan never did. As
a result of that first childish desire to play
the part of Peter Pan, she worked and
studied and planned for a career as an
actress, and today she gives every promise
of having a successful movie career.
If you have saved a hundred dollars or
two hundred dollars or five hundred dollars,
don't despair because your savings aren't
any larger. If you invest those savings in
happiness, they may bring you a magnificent
return.
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HE'S A SIMPLE SOUL
Suddenly he leaned forward, resolve in
his eye. "I'm going to bare my soul to
you. Remember the gilded youth I played
in 'I Met Him In Paris'? Remember how
he took possession of the Ritz lobby and
picked up the prettiest girl he'd ever laid
eyes on, without turning a hair? That
always reminds me of my own experience
at the Waldorf. It was so different."
Mr. and Mrs. Robert Young were visit-
ing New York for the first time. Bob's
agent had made reservations for them at
the Waldorf.
"I knew nothing about it except for a
vague impression that it was pretty grand.
I wasn't, however, prepared for the Ara-
bian Nights. We were driven down
through this subterranean garage, and
came up through the basement, so the
lobby hit us suddenly. We were para-
lyzed. We thought we'd got lost in an
annex of the Grand Central Station.
"I tottered to the desk and inquired
about the suite. It wasn't ready, because
I'd neglected to tell my agent we were
flying. I asked for the manager, not
realizing that he was a kind of grand
vizier, who sat up on the fiftieth floor and
pushed buttons.
"Presently this dignitary appeared, look-
ing like a diplomat at the Court of St.
James. I couldn't very well ask him about
a detail like bed and bath. But it seems I
had to, if we were ever going to get out of
that blasted lobby.
"He was most affable, bowed us into the
elevator, had us whisked up to infinity.
(Continued from page 25)
showed us the suite, which' was breath-
taking (so was the bill), gave us an arm-
ful of literature about how to find our way
'round the place, and bowed himself out,
leaving us entirely alone on the thirty-
fifth floor, looking at each other.
WELL, the thirty-fifth floor was
pretty terrifying in itself. Besides,
we were hungry. We didn't know whether
to go downstairs or whether we were ex-
pected to dress, if we did go down. Any-
way, we were too scared to face the haz-
ards. So we decided to have dinner sent
up."
It was Betty's birthday. Bob felt they
should drink a toast to it. He went to the
phone. Could they send up the where-
withal ?
"You wish room service, sir?"
"I suppose so," he muttered.
Jigglings, buz?es, voices. Room service.
Bob gave his order.
Presently there arrived a resplendent
Ganymede, bearing a bottle on a tray. The
tray also bore a bill for eight dollars. Bob
gulped down the shock. "I ordered White
Rock and cigarettes, too."
"They are coming, sir."
A second emissary, a second tray and a
second tip. A third with the cigarettes.
When the door closed behind that one,
they looked at each other.
"Maybe we'd better not order food,"
Betty quavered. "They'll send up a cap-
tain with the bread and a major with the
butter and a general with the coffee, and
we'll have to tip them all."
They sent up what looked like a major
domo with the menu, which was chiefly in
French. The trapped pair chose food at
random. Half an hour later the major
domo returned with an elegant array of
covered dishes and a waiter. He served
them and retired, bowing himself out. The
waiter stepped back four paces and stood
at attention. Betty and Bob ate. They had
to eat. The waiter stood behind them, dar-
ing them not to.
"What's he for?" Betty's raised eye-
brows signalled.
"To snatch away the soup plates before
we can get the last drop," Bob wanted to
tell her.
"Couldn't you send him away?" her eyes
pleaded.
"He'd probably bop me over the head,"
thought Bob.
By the time the miserable meal was over
they were both so homesick for the simple
life of Hollywood that Betty was ready
to bawl and Bob to swear. Still they af-
fected good cheer.
"Let's call Tom O'Brien," Bob proposed.
Tom O'Brien was a shoe salesman and a
dear friend. Tom O'Brien would put a
different face on New York. They
dragged out the phone book. Eighty-nine
Thomas O'Briens stared them in the eye.
Systematically they began to eliminate.
"Riverside Drive sounds too doggy. Tom
wouldn't live there. Forty-second Street
sounds like a movie. Tom wouldn't live
there."
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103
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104
Martha Raye and Ben Blue get
together for a little hotcha
comedy in "The Big Broadcast
of 1938."
They boiled it down to about twenty-five
and started calling. "Is this Tom O'-
Brien?" "Yes." "Is this the Tom O'Brien
who sells shoes?" "Wise guy!" they an-
swered, or they grew abusive, or they
hung up the phone. Halfway down the
list, Betty could stand no more.
"Bob!" She caught at his arm, as he was
about to lift the phone for the twelfth
time. "Do you know what's the nicest
birthday present you could give me? Tele-
phone home."
They got through to their home as
quickly as if they'd been dialling from the
next street. Betty's mother, who was tak-
ing care of the baby (only one baby then)
answered the phone. They talked happily
for a while, heard what Carol Ann had
had for supper, what time she'd gone to
bed, how cute she looked in her crib, with
her pink fist tucked under her pink chin.
Then Bob had another inspiration.
"You'll find a lot of Christmas cards on
the bottom shelf of the cupboard in the
breakfast nook. Look through them for
Tom O'Brien's, and get his address. We'll
hold the wire."
At eleven o'clock they got the right Tom
O'Brien, who whooped out a welcome and
bade them come right down. Half an hour
later they were eating scrambled eggs
with their friends and talking their heads
off.
They stayed in New York for ten days.
They moved to a hotel where they felt
more at home. They rode the Fifth Ave-
nue buses and saw Grant's Tomb and shot
the chutes at Coney Island and "did every-
thing all the other hicks do and never did
get our mouths shut, there was so much
to gape at."
Bob's no sophisticate. He's simple
enough to be more concerned with the
problems of a war-mad world than with
scaling the social ladder of Hollywood.
He's naive enough to be in love with his
wife. He's old-fashioned enough to prefer
the pleasures of hearth and home to those
of the night-club. No swing band could
give him half the kick he gets out of hear-
ing Carol Ann babble of the beauties of
her new little sister, Barbara. Nor does
love for his own make him smug. It
opens, instead of narrowing his horizon.
Because of Carol Ann and Barbara, he
feels a deepening responsibility to do his
share toward making the world a happier
place to live in.
>
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I
MODERN SCREEN
ludging from the expression,
Bing Crosby goes to town
when he sings on the radio.
GOOD NEWS
(Continued from page 70)
Lola Lane, as the temperamental movie
star in "Hollywood Hotel," finds herself
surrounded by designers, beauticians, maids
and studio publicity people, when she really
wants to be "away from it all." "Crowds,"
she sighs. "Why am I always surrounded
by people? All I ask is a little exclusion !"
Hearts and Flowers: Most permanent look-
ing of the romantic arrangements of the mo-
ment are Jimmy Stewart and Rosalind
Russell, Gary Grant and Phyllis Brooks,
Carole Lombard and Clark Gable, Marlene
Dietrich and Doug Fairbanks, Jr., and Bing
Crosby and the Santa Anita race track.
The J. Walter Ruben-Virginia Bruce
wedding was a simple affair held at their
own home, in direct contrast to the elab-
orate reception tendered them later the
same evening by the Jack Warners, the
Countess di Frasso and Kay Francis, who
collaborated on a mammoth shindig at the
home of the Warners. Hundreds of friends
toasted the bride and groom, but the most
interesting guest was a young lady who
attended the wedding but didn't carry on
at the reception. She was Susan Ann Gil-
bert, Virginia's 4-year-old daughter.
Carole Lombard items: Miss L. is one gal
whose popularity with co-workers is not just
publicity. They really like her, because
she's genuiiie and because she never turns
on the temperament. Most unusual thing
about her is that she doesn't mind being
mussed up before the camera. Most beauti-
ful women in pictures dread the thought of
a misplaced strand of hair, but Lombard
has submitted to everything from dunking
in icy water to a boot in the derriere. Sel-
dom goes to night clubs, because she pre-
fers a small party at home with only her
close friends.
Height of Something or Other : A Los
Angeles dealer has just asked W. C. Fields
to endorse a local brand of milk !
{Continued on page 120)
ON <^ ^
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105
MODERN SCREEN
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HAND CREAIVI
Singing was only a hobby with
Gene Autry until he went to
New York for a vacation from
cow-punching in Oklahoma.
While in the Big City he had an
audition. They liked his voice
but claimed he needed experi-
ence. He went back to Tulsa
and radio work, which led to
picture offers. He's all set now.
IT'S BEEN TOO EASY
(Continued from page 33)
intelligently. She has a stronger face off
the screen than the camera gives her in
pictures. It is a face of more character.
I said to her, over the tea, "What is
this all about, the rumors that you want
to quit the screen? You can't expect any-
one to believe them. There's not a word
of truth in it, is there?"
YES," said Olivia, "several words of
truth. I have felt, quite often, that
I'd like to quit. Now. Before it is too
late. If someone should say to me to-
morrow, 'You can have your choice. You
can leave the screen now and forever or
you can go on and on, indefinitely, but it
must be one or the other,' I'd say, 'I'll
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106
MODERN SCREEN
Feminine
H Y G I € n 6
quit.' But whether I will ever have the
courage, the initiative, the gumption to
leave of my own free will is another
matter. I probably won't have."
"But why?"
'"Dreams come true too quickly," said
Olivia at once, and sadly, "that's why.
Youth is the time for dreaming, not for
the realization of dreams. I don't dream
any longer, and I know it.
"I haven't had enough of being young.
I've learned too soon and much too fast,
that people are what they are, not what
they should be ; that life is what it is, not
what I thought it was, and believe it or
not, I resent losing my youth overnight.
"I didn't have enough of the kind of life
I had up home in Saratoga. It was too
brief, the time I had to dream the dreams
all girls dream, I guess. For I dreamed,
of course, that I would like to become a
movie actress. I'd see Claudette Colbert
and Bette Davis and Jean Arthur and the
others on the screen and get terrific thrills
and wonder what it would all be like.
That's what the stars were to me and now,
before I've had time to realize it, I'm
that to everyone else. I dreamed that I
would have a lot of money, bushels and
tons of money, so that I could buy a very
expensive dress and a car of my own
and ride around, very elegant and noticed
by everybody. I dreamed how I would
adore to meet Roland Colman, but knew
that that, of course, was certainly only a
dream, the sheerest, fantastic folly.
"And then suddenly, all the dreams
came true. All the dreams arc true. And
what of it? I can buy myself an expen-
sive dress, not one but as many as I want.
And I don't want to. That excitement I
had in high school when I saved up my
allowance for weeks and bought an $18.75
dinner dress, that was excitement !
"And suddenly, too, I was able to buy
my own car, able to buy more than one
car if I felt like it. I am a movie star
and none of it gives me the thrill, the real
deep excitement, the big bang I had when
I played Hermia in the Hollywood Bowl.
'God,' I thought then, but reverently, 'God,
to be playing in Max Reinhardt's produc-
tion in the Hollywood Bowl, the gorgeous-
ness of it!' And that skin-prickling, ex-
ultant heart-in-my-throat gorgeousness is
gone. I miss it, I feel cheated of it.
"And then suddenly, I could meet Ronald
Colman, and did. He came to my set one
day and there was enough residue of my
old feeling of the improbability of such
an occasion to make me tongue-tied and
awkward then. I didn't know what to do
or to say. And that was all right. That
was thrilly and exciting. When he asked
for me to play with him in one of his
pictures, it was too much. Too much,
again. For if anyone had ever told me
that I would not only meet Ronald Col-
man m the flesh, but that he would ask for
me for one of his pictures, I would have
thought_ that I had gone mad. Too much,
all of it, too soon. D'you see what I
mean ?
"The only time," Olivia went on, "that
I ever recapture any of the old feeling of
awe and wonder and self-consciousness is
when I am with Brian Aherne. I am
scared of Brian. He is really such a
great actor, such an extraordinary person,
that he strikes me tongue-tied and pink!
I nearly died when we were making
'Garrick.' He was so wonderful and I
felt that everything I did was so stupid
and madequate by comparison, so I just
nearly died of self -consciousness every
mmute of the time, which proves that there
IS some hero worship left," smiled Olivia
"We'd have tea late every afternoon, an
o.d hnghsh custom. Really, I was petri-
fied of him, couldn't think of a thin"- to
say. You'd think I'd have gotten ovel- it
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107
MODERN SCREEN
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Color of your hair?
Not hard to figure out what Jane
Withers does with her spare time.
Note the tricky outfit she wears
a-bicycling.
But, no, not little O. deH. Oh, well, the
day may come when I'll be able to talk
casually to Brian Aherne, when I'll be
able to meet Ronald Colman without a
tremor.
"Now, with Basil Rathbone, I'm entirely
different. Marvelous actor and dignified
though he is, 1 can kid around with him.
Why when we were making 'Robin Hood,'
he actually hooked my skirt for me. The
cast roared and a prankish cameraman
snapped him doing it. The print is pre-
served in my album.
AND it's all wrong," continued Olivia,
somljrely now, "for at twenty-one
your pulses should hammer and your skin
get goose-fleshy and your breath come
quick and fast and mine doesn't now, not
any more, not for half enough reasons and
I know that this is sad, and a kind of a
loss.
"The dreams come true and you find
that you don't want any of them very
much. And you shouldn't discover this
too soon, not until you are old enough to
have developed a philosophy of life which
will take the place of the dreams of youth.
Mine have come true so fast that they
squeeze the very life out of themselves.
"And there is a sort of tiredness in me,
too. I get a certain pleasure, still, out of
being known, recognized, asked for auto-
graphs. I haven't had enough of that yet
to feel bored with it. But at the same
time, I feel the desire to get away from
eyes, to get away from people. When I
go home now I do something I never
thought of doing before, I go to my own
room and close the door and lock it. It's
just psychological, I suppose. It's an at-
tempt to feel alone, shut away, safe. I
used to love to have my sister come in,
share my room with me, sleep with me.
Just let her try it now !
"I just don't feel real. I don't feel nie.
I have gained many identities and sort of
lost my own. Perhaps I'll get over this
feeling in time. But I am speaking of
the here and now.
"I doubt, truthfully, that I will ever
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108
MODERN SCREEN
WHICH COLOR WILL BE
YOUR LUCKY STAR?
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do anything about it. I have become too
lymphatic to make any such drastic de-
cision as leaving the screen. I don't use
any initiative because little or no initiative
is required of me. It is all a matter of
what the studio gives me to do.
"As a result, I've become subjective and
submissive and I am, or was, by nature,
independent and self-reliant.
"It's a kind of 'what doth it profit a
man if he gain the whole world and there-
by lose his own soul.' It is my soul I'm
worried about. I have gained the whole
world, the visible, tangible world, and there
are advantages, of course. To me, the
greatest advantage is that of being finan-
cially independent. I love it. I always re-
sented dependence, even when I was a
youngster. I love my independence so
much that I don't really believe I could
get along without it now. If I had to, even
being married, I'm afraid I'd be perfectly
miserable."
BUT if you should really fall in love,"
I said, "have you ever been in love
so that you can say, with authority, how
you'd react if real love should come?"
"Yes, I've been very much in love with
a young man who was studying to be a
doctor. And we planned to marry and
I was to be a doctor's wife and live on
his earnings and I thought, then, that I
would be well content. Now, I doubt it.
So that even this advantage has its dis-
advantage. For this is my problem now :
Whom could I marry?
"I wouldn't want to marry an actor.
I couldn't very well marry anyone outside
of the business because I would know
that one day he would wake up and dis-
cover little, old Olivia de Havilland of
Saratoga and she wouldn't be the girl
he'd married at all. And besides, girls on
the screen just don't meet the nice, worth-
while marriageable men outside the pro-
fession.
"And so, I'm sort of coasting along. I've
got emotional indigestion. I may get over
it. But if I do get over it, it will be be-
cause a hardening process has set in, a
sort of callousness to the things that mat-
ter to me now, an acceptance of the kind
of people and the kind of values I can't
accept yet.
"And I feel that we lead a very selfish
existence. We all do when we are screen
stars, because we must. Everything is
done for us. We are spoiled grown-up
children. For instance, if an extra on the
set should have an accident of any kind I
can't obey my natural decent impulse and
run to the rescue. Not me. For there is
a million dollars, not mine, invested in this
property known as Olivia de Havilland and
it must be protected. Or if I am on the
set talking, perhaps, to a woman old
enough to_ be my great-grandmother, an
extra again, let's say, and a chair is
brought, the chair is for me and I must
take it. I can't make the respectful ges-
ture to old age a girl should make, be-
cause I am the star and I must keep crisp
and fresh and rested looking for the next
take.
"I won't allow this revolving-around-me
process at home, though. Neither will
Joan. Not that Mother is the kind given
to revolving, anyway. She doesn't feel
any differently about us than she ever did.
She still teases me, calls me 'Miss O. deH,'
says, 'Well, Miss O. deH, come to earth,
if you please.' No, Mother doesn't re-
volve and we wouldn't allow her to, even
if she were so-minded.
"We insist that she have the best room
in the house, manage the house, and us.
It is her home and we are just the girls,
living home as we were before we ever
did more than dream about making good
in Hollywood."
Doesn't it make you happy to get that second
look from others— that interested glance which
says: "You look stunning!"?
But maybe you haven't heard a compli-
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Name
Address
City State
{If you live in Canada, write Lady Esther, Toronto, Ont.)
109
MODERN SCREEN
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110
Even the big stars have to make tests before starting a picture, not of
their acting abihty but to see how their costumes and make-up will
photograph. Bette Davis is shown here wearing a costume for "Jezebel."
ELIGIBLE BACHELOR
(Continued from page 38)
College, his main ambition was to get out
of school. He worked for a time for an
architect (his father was an architect) and
then got a job in Liverpool with the West
African Merchants.
When he saw other agents coming back
from Africa with the indelible stamp of
fever suffering on their faces, he gave up
the idea of going himself and turned to the
stage, hoping to find there, the freedom
and excitement he craved. Now, he is
glad that he is an actor, though he has
often thought of what he'd do were he
ever to change his profession.
He said, "If I ever do leave the stage
and screen, I rather think I'd like to go
into politics. English politics interest me
enormously. The career of a surgeon, too,
would be satisfyingly real. But I've had
tremendously interesting experiences just
because I am an actor. That is one of the
great beneiits of being an actor. All kinds
of doors are opened to us.
."I met Marshal Foch, after the war. I
was going through Paris on my way to
Australia with a stock company. We talked
for an hour or more and when I took my
leave, he asked me, me, if I would tell the
Australian people for him how much they'd
helped to win the war. I managed to de-
liver his message over a wireless broad-
cast. Whether anyone listened or not I
can't say.
"I met Hugh Walpole, too, for whose
books I have the most profound admira-
tion." At this point, Brian Aherne threw
back his head and laughed long and loud,
as is his way. He added then, "But the
way I met Hugh Walpole ! We were both
dinner guests at the home of the late
Richard Boleslavski. We were sitting on
those high stools around the bar. Mr.
Walpole was talking about his own
bachelorhood. I said th.at I, too, belonged
to the brotherhood and Mr. Walpole
scoffed at me, saying, T mean a real
bachelor. Someone who has given time to
it.' Unfortunately, I got playful. I put
up my foot and poked Mr. Walpole, gently,
I thought, in the small of his back. To
my horror, to the stunned horror of every-
one in the room, he did a sort of flip-flop
off the stool, landed square on the top of
his head on the stone floor, turned a com-
plete somersault and lay prone and abso-
lutely motionless on his back.
"I could hear mvself saying, absurdly,
'Mr. Walpole, Mr.' Walpole ..." We
summoned doctors.
tpVENTUALLY, after some very bad
minutes, he recovered sufficiently to be
taken to his home. When I offered to aid
him, he cried out feebly, "Keep that young
man away from me, he's violent!"
"And this is the black-out. Some while
later, I was making a picture in which I
had to have a fight with a policeman. I
told the chap, an extra doing the bit, that
I would pull my punch, that he should
stand facing me in such and such a way,
that the sound men would take care of the
crack on the jaw but that actually I would
just miss him. Somehow, in the rough
and tumble of the scene I did not pull my
punch and the chap came out of it with his
tooth through his lower lip. Later, I
asked who the man was, wanted to do
something for him. I was told he was
Walpole's valet. If I hadn't known better,
I'd have sworn they were kidding me.
They weren't. Seems that the fellow had
been eager to find out what acting in
movies is like and they had given him the
bit as the policeman. Can you imagine
what poor Mr. Walpole said when he heard
that? I can!"
HIS interests, his experiences, his ad-
ventures range over every country in
the world, every facet of life. He knows
politics, the latest scientific developments,
medicine, aviation, books, the theatre, Hol-
lywood.
He talked about his recent adventure in
flying, solo, across the continent. Of the
five minutes or more when he and death
met face to face. He said, "I had to make
MODERN SCREEN
Here's how Bette will look when
she goes calling in New Orleans.
a forced landing in Pennsylvania, you
know. I had checked in at the last air-
port and had been told that sunset was at
six-twenty. Suddenly I found the sun set-
ting in back of me and realized that I had
failed to take into consideration that I had
crossed a state line, the time had changed
and sunset was at five-twenty. I had no
landing lights.
Evening frocks in the days of
"Jezebel" were so glamorous.
"I had no radio. I had no co-pilot, of
course. I was not equipped for night
flying. I had a bad five minutes. I couldn't
get my bearings, didn't know where I was.
Finally, I thought I spotted two fields. One
seemed lighter in color than the other. I
even remembered how aviators, forced
down in fields, have been sued by farmers
for ruining their alfalfa ! I aimed for the
darker of the two fields and made it.
"Immediately I landed, farmers started
to run out of the hedges. One of them
shouted, 'Why didn't ya take the other
field, young feller, it would'a been softer.
That there's alfalfa 1' "
But at our suggestion that too much ad-
venture might have spoiled him for do-
mesticity, Mr. Aherne was defensive.
"No!" he declared. "As a matter of
fact, men who have been soldiers of for-
tune usually make the best husbands. My
brother in England, every bit as much of
a chain breaker as I have ever been, is
now married, has two children and you
can't pry him away from his fireside, even
for an evening. When I am in London, I
call him and suggest that we dine together
as we used to do. He always evades. He
says, 'The baby has a ten o'clock feeding.
You know how it is, old chap.' When I
tell him that I don't know how it is, old
chap, that he has a nurse, I mean the baby
has, and that I always supposed that was
what nurses were for, he says, 'No, I
don't think she gets the feeding the right
temperature. I'd rather be here myself.'
"And the funny part of it is," said Brian
Aherne, "I understand exactly how he
feels. I will feel the same way myself.
"When I marry, and the sooner the
better, I want the marriage to be a mar-
riage. I would prefer not to marry a pro-
fessional woman. A screen star is married
to her contract. She comes home after a
hard day at the studio, has a massage, has
her hair done, has a manicure, must be
asleep by nine o'clock. What kind of a
marriage would that be?"
"But supposing," we said, "supposing you
fall seriously in love with a screen star,
then what would you do?"
"Then I would doubtless marry the star
and — get into trouble," laughed Mr. Aherne.
1^*
111
MODERN SCREEN
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Bob Young tells all in
April Modern Screen
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A couple of comics, Fred
Allen and Jimmy Durante,
laugh at each other's jokes.
INFORMATION DESK
(Continued from page 15)
father of a son old enough to also star in
the movies ! In fact, he has no children at
all!
Wilda Aarons, New York, N. Y. Melvyn
Douglas' current picture release Is "I'll
Talie Romance," with Grace Moore. You can
write to him for a photograph at Columbia
Studios, Hollywood, Cal.
Arlene Thomson, Hanover, Pa. Address
Tyrone Power, 20th Century-Fox studios,
Hollywood, Cal., and Humphrey Bogart at
Warner Brothers, Burbanli, Cal. Don't for-
get to enclose twenty-five cents for each
picture.
Gabriel Bleakman, Baltimore, Md. The boys
you enjoyed so much in "Dead End," are
now appearing in a story written especially
for them, entitled "'Who Asked To Be
Born?" A Warner Brothers picture.
Kathryn Parr, Windsor, Ont. You can get a
picture of Gene Autry by writing him at
Republic Studios, Hollywood, Cal., and
enclosing twenty-five cents.
Marion Sterlinsr, Violet, Tex. As far as we
know, Nelson Eddy has made no plans for
an English production of "Robin Hood." As
to the concert tour situation, you might
write Mr. Eddy himself in care of Metro-
Goldwyn-Mayer Studios, Culver City, Cal.
Also, any complaints you wish to register,
could be addressed there. Don't be afraid
to ask questions ! Write again and we'll
be glad to give you whatever information
we can.
May Harding, Fort Worth, Tex. By the time
you read this, Barbara Stanwyck and Bob
Taylor may be Mister and Missus ! But you
know how things happen in Hollywood, so
don't count on it !
Frances Burke, Wichita, Kan. Your guess is
as good as ours. Tyrone Power seems to
favor the little Gaynor gal at the moment
and as for Sonja Henie, well, she's seen
around with Cesar Romero quite a lot
these (lays.
Florence Lewis, Evanston, 111. The girl you're
thinking of is Beverly Roberts. She's under
contract to Warner Brothers.
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112
MODERN SCREEN
Off to lunch. Ethel Merman,
escorted by Don Ameche and
Cesar Romero (lucky Ethel),
knock off work to grab them-
selves a bite.
IT'S m TO BE BROKE
(Continued from page 39)
room," she boasted. "Of course this place
is fantastic, it's so tiny, but I wanted it
because it is like a little place I lived in
in France. And how I love France !
"Before I moved here I lived next door
in that civilized looking house," she con-
tinued without ever stopping for breath,
"and every time I came to the library for
a book I asked the woman if she couldn't
put her tenant out so I could live here.
One day she told me her tenant had been
called to Europe and I could have the
apartment. Isn't it screwy? But that's the
way things always happen to me.
"See that chair?" and she indicated an
easy chair, upholstered in brown and green
chintz. "I had the couch cover for some
time and one day I walked into a store be-
cause they had a sale and found this chair,
covered with the identical material the
couch cover is made of.
"Vivian!" she called through the door.
"Is the water boiling?" It wasn't.
"Well, then, you've got to see the rest
of the apartment," she announced, and
rushed us through a tiny passage way into
the bathroom which, while not built to hold
three people, was complete in every detail
including modern glassed-in shower and
tub.
"But I have to go through the kitchen
to get to my clothes closet," she added.
"Isn't it fantastic? But I love it."
She hardly sits still long enough to be
described at all. Her friends declare that
she bubbles partly because she is so full
of life and energy and partly because she
has heard that brains are not an asset in
Hollywood and she tries to hide her in-
telligence behind a barrage of inconsequen-
tial chatter. If ancestry means anything,
she comes by her brains honestly, for she
is the great-granddaughter of Dr. Edward
Jenner, who discovered and first put to use
vaccination with smallpox virus. Another
ancestor was Dr. William Jenner, whom
Napoleon called "the greatest benefactor
of his time."
For Mother deals with COLDS the modern direct way
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AFTER ALL, it is plain common sense to
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When Colds
THREATEN
At the first warning
sneeze or sniffle, or the
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Clears Stuffed -Up Heads. Even when
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Va-tro-nol brings comforting relief. It
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And Va-tro-nol is so convenient, so easy
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If first signs have
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113
MODERN SCREEN
^ljr\07 OF ALL WOMEN WERE
\j\J/0 BORN BLONDE ... BUT
time darkens and dulls blonde hair!
LOVELY SOCIETY DEBUTANTES...
GLAMOROUS HOLLYWOOD ACTRESSES
KEEP BEAUTIFUL^ j^^^^^^
^ Chances are you were fair as a child . . . but time darkens
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GOLDEN HAIR WASH
AT ALL DRUG AND DEPARTMENT STORES
You'll see Bobby Breen
against a colorful tropical
bockground in his new pic-
ture, "Hawaii Calls."
Che is an avid reader, this inclination
^ being encouraged by the fact that all
she has to do when she wants a book is to
call downstairs. She had just finished read-
ing "Outposts of Science," three Du-
Maurier plays and "And So Victoria."
Her appearance is a surprise, because
the real Beverly is so different from the
girl you see on the screen and ten times
as pretty. She is small and daintily built
and her delicate coloring could never be
photographed. Her hair, naturally golden
blonde and curly, is one of her best fea-
tures. "But it doesn't photograph well,"
she said later. "It absorbs the lights and
from now on I guess I'll have to wear a
wig in pictures."
In repose she is beautiful, with frank,
clear hazel eyes and regular features, but
when she smiles she is radiant. Her smile
comes suddenly, with no warning, and is
as warming as a ray of sunshine.
At the studio where Beverly is under
contract, it has been said, "Beverly is a
girl who has been kicked around. She's
had a tough time of it and now she's
sitting pretty.''
She may have been kicked around, but
she got the greatest kick out of the ex-
perience. Being broke was a lark to her.
She never worries and, although funda-
mentally a very serious person, says :
"There's always something to laugh about."
In fact, she can make you believe that she
has had grand fun having a hard time.
"I've never had more fan than when I've
been broke," she said seriously.
Then she explained that, according to
her theories, being broke is not a pleasant
experience but it does have compensations.
"When you are broke anything that hap-
pens is an event. If someone invites you to
dinner it is exciting. It's something to
make a whole day. And you know, too,
that you have been asked because you are
wanted and not because of your money
or power.
114
MODERN SCREEN
"Why, before I came to Hollywood just
the thought of having a script handed to
me to read; the idea of being able to say
'yes' or 'no' to a part; the idea of having
a job in any picture, good or bad, would
have bowled me over.
r IFE is a series of different levels.
•*— ' Every increase in salary, every step
up takes you to a new, higher level. It's a
good idea to keep your feet on the ground
so that even five dollars more a week
means something."
One lesson Beverly thinks important, is
to learn not to want things too hard. "If
you want things in a relaxed way," she
thinks, "they come to you much easier. You
can't make things come to you.
"When I was singing in night clubs in
New York, I wanted more than anything
in the world to get a chance to work in
pictures. A talent scout saw me work and
said I must have a screen test. She was
sure I was just what pictures needed, but
I refused the offer because I didn't think
it was the right time. I kept on with the
work I was doing but always in my mind
was the desire to work in pictures."
There isn't an ounce of conceit in Bev-
erly's make-up but she swells with pride
when she recalls the comment a Pittsburgh
critic wrote of her singing. He wrote :
"She can sing songs in a way that would
make Noel Coward sit up and say 'uncle.' "
After an engagement at the Town
Casino, she sang in Jack Dempsey's res-
taurant until he changed policy and dis-
continued the floor show. Meanwhile, she
had made the screen test, but seven months
after it had first been offered her. "And
just to show you how things always hap-
pen to me, the night before I was to close
at Jack Dempsey's a telegram came offer-
ing me a job at Warner's Studio in Holly-
wood. I owed two weeks' rent and had
$2.15 in my pocket but I managed to bor-
row enough to pay up and get out here."
Her employers have forgotten they hired
a singer when they signed Beverly but she
Guess who? Nope, it's Gra-
de Allen, all done up as a
Puritan miss for her antics in
"College Swing."
rail)
me/
TRY FOR AN ^
Scholarship
Copy tliis girl and send us your drawing — per-
haps you'll win a COMPLETE FEDERAL
COURSE FREE! This contest is for amateurs,
so if you like to draw do not hesitate to enter.
Prizes for Five Best Drawings — FIVE
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FREE! Each contestant whose drawing
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Nowadays design and color play an important
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the artist, who designs merchandise or illustrates
advertising has become a real factor in modern
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Many Federal students, both men and girls who
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RULES
This contest open only
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1938. Prizes will be
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115
MODERN SCREEN
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A study in contrast. Oriental
Anna May Wong and Ameri-
can beauty, Gail Patrick, smile
for the cameraman on the
"Dangerous to Know" set.
thinks it is just as well "because," she said
honestly, "I'm not a good singer."
She recently agreed to remain at the
studio for another six months, "to see
what happens," she said. "I'm such a diffi-
cult person to cast," she explained. "It
isn't the fault of anyone that I've had bad
roles. It's just that suitable roles are so
hard to find for me."
DUT her friends, in characteristic Holly-
-L* wood fashion, have decided that at the
end of six months she plans to wed William
Keighley, a Warner director.
"I'm not going to get married," she de-
nied flatly. "That is, not right away," she
added cautiously. Later she said, "I be-
lieve the most important thing I've dis-
covered about life is that the only constant
thing in the world is change.
"Today, I feel that I couldn't handle
marriage and a career. I feel that way . . .
definitely. But who knows that tomortow
will not prove that I can and will be placed
in that very situation?"
"Love is such a very intangible quality.
Today it may be the fartherest thing from
your mind. Tomorrow you may be swept
off your feet. So I've tried to keep an open
mind about marriage. I'm a firm believer
in not crossing any bridges until I get to
them.
"Like every girl," she continued, "I have
had ideals about men. Most of them I
have discarded. Things that used to seem
terribly important to me no longer have the
same value. Possibly because I've always
been so independent (and necessarily so) I
have acquired a much more practical view-
point than rides along the beach in the
moonlight, dancing in the dark and boxes
of candy. It is so much more important to
have someone there when you need him
than showering you with the little atten-
tions that most women seem to demand of
men.
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116
MODERN SCREEN
I feel to be absolutely essential to love.
For example, I don't believe any romance
or marriage can last without a foundation
of understanding and consideration. I don't
think I am unreasonable in expecting this.
I don't think I have ever asked anything
of a man I wouldn't be perfectly willing to
give in return.
"One thing I've always hated in any re-
lationship with a man is conflict. I'd walk
a mile to have peace in any situation. I
don't mind criticism in the least, if I feel
that I deserve it. In fact, I welcome any
suggestion that I think will help me.
ONE of my worst failings is jealousy.
It's not that I am jealous of women
especially. I am simply jealous of anything
that comes between me and happiness.
Whenever I have had that feeling I have
become actually physically ill. It gets me
right here," and Beverly pointed to her
stomach.
"One thing I do feel is tremendously im-
portant to a happy romance is for each
person to preserve his individuality. Invar-
iably, when two people are in love, one of
the two is more in love than the other.
The tendency here is to submerge oneself
in the stronger personality of the other.
That is fatal to happiness, I believe.
"But how did we get on this subject,
anyway?" she asked suddenly. "I don't
believe I have any business generalizing
about love and marriage. It is much too
personal and individual a problem to be
discussed haphazardly, in the first place.
"In the second place, I don't know any-
thing definite myself. Mentally and emo-
tionally I'm two different people. I've
worked out some beautiful theories in my
mind but invariably when love comes along
they are knocked into a cocked hat.
"I've never felt that marriage was the
ultimate in life. Possibly it's because I
have always had other interests."
In Beverly's friendship with Mr. Keigh-
ley, whom she met when he directed her in
a picture shortly after her arrival in Holly-
wood, there seems to be mutual admiration
and undeYstanding. They like to do the
same things and laugh at the same things.
They visit the beach resorts, ride on every-
thing and play all the games.
When he built a gas station recently,
Beverly offered to be on hand for the
opening.
"I suggested that I could give my auto-
graph with every gallon of gasoline," she
laughed, "but my offer wasn't accepted.
"This is a screwy interview, isn't it?
But I'm a screwy person. I don't think
I've said anything you could write. I wish
I could write. I've always been ambitious
to write, so I was delighted when the
editor of the Guild Magasine asked me to
write an article for him. I'm thrilled to
death when anyone suggests I may have
hidden talent. But days have gone by and
I can't think of anything to write about."
A painting on the wall resembled her ever
so slightly.
"Yes," she admitted, "that's me, but I
had ptomaine poisoning the day I sat for
it and the artist had mental indigestion. I
keep it hanging there because I like the
frame. He's really a good artist. See,"
and she indicated an exquisite painting over
the fireplace, "he did that one."
One of Beverly's outstanding character-
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wouldn't want to live any way but with
zest, and thinks the three most imporant
essentials of life are tolerance, love of liv-
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"And broke or not," she says, "I never
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117
MODERN SCREEN
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BETWEEN YOD 1' ME
{Continued from page 17)
homes are nice and warm, I can't find any-
one to walk over to the movies with me.
It's always, "Gee, tonight's Nelson Eddy
night, or Al Jolson, or Burns and Allen, or
Jack Oakie, or Don Ameche or sumpin'.
The situation's awful. They say,^ "Oh, that
picture's playing. Yeah, I heard it over the
radio last week. It was good, but I al-
ready know the plot and climax," or "Come
over instead and we'll sit and listen to the
Lux Radio Theatre, a whole movie for
an hour and we can spend the money we
save on something else."
However, as far as I'm concerned, radio
programs depend too much on the story and
script. So, I say to Hollywood : Don't give
yourself the air. — Mrs. J. Lieser, Chicago.
$1.00 Prize Letter
What's Happened to Eddy?
What have they done to our "Captain
Warrington" ? What has become of the
tall, slim, blond fellow with the charming
smile who captivated the hearts of the
ladies in "Naughty Marietta" ?
What has become of Nelson Eddy?
Of course, he gave two grand perform-
ances in "Rose Marie" and "Maytime," but
I am sure the public wishes to see him in
another two-fisted role such as he had in
his first starring picture.
In their anxiety to give him music
worthy of his beautiful voice, Hollywood
has apparently forgotten his romantic ap-
peal and so I offer this plea. Please, don't
do to Nelson Eddy what you have already
done to Robert Taylor. Don't rely on his
voice to put him over to the public as you
relied on Bob's good looks. — L. Sullivan,
Watertown, Mass.
$1.00 Prize Poem
To Simone Simon
You're little and cute —
In fact, quite petite,
A little bit naughty,
And yet, oh, so sweet;
You really deserve
Far more, little girl,
Than what you've received
In the cinema whirl.
I hope in the future
They'll give you a part
That'll prove you can do things
To any man's heart.
I think you're a whiz
And just want to shout
Each time you develop
That cute little pout.
My favorite actress — •
Just you alone,
The naughty but nice, Simone Simon.
— Louis Steel, San Leandro, Calif.
Solution to Puzzle on Page 72
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B\S]E
N
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118
MODERN SCREEN
GLADYS GETS THERE
(Continued from page 62)
which now will not even appear in the
picture, was photographed, half the people
on the set claimed credit for the pitching.
Just why, I'll never know. It certainly
can't come under the head of an honor.
And I haven't any enemies. That is, I
don't think I have !"
Perhaps no operatic star entered the
movie medium more bewildered than Gla-
dys Swarthout. Her fault, if such it was,
lay in being too anxious to please. Every-
thing she attempts is done with great
seriousness, whether it is buying a hat or
planning a house. She has always been
willing to make sa:crifices for her career.
Her lunch consists of .a green salad. Her
"cocktail hour," a cup of tea into which
is measured a teaspoonful of brandy. She
retires at ten unless she attends a theatre
or concert. If it is her "night out," she
is home after the entertainment as fast
and as soon as her car will take her there.
She depends upon her husband greatly and
strives to please him. His opinion is asked
whether she is selecting a gown or signing
a contract and his decision is adhered to.
The movie game still seems to baffle the
Chapmans a bit, however.
"I can't understand," says Miss Swarth-
out, "how, when you read the story and
approve it, look at the rushes and like
them, that you can be disappointed when
you see the finished picture. Yet you can.
Indeed, I have. Maybe cutting is the seat
of the mystery. Anyway, it all seems such
a matter of chance and is like the grab bag
at the church party. You put in your hand
and pick something and hope to heaven
it's good. And if it isn't, you can't com-
plain for you yourself pulled it."
However, except for a few minor criti-
cisms, the Chapmans have become very
much attached to the camera coast. They
have a house there now and entertain on
a conservative scale.
Strange as it may seem, no opera star
has made an instantaneous picture success.
Grace Moore was a definite film failure
when she started in pictures. She determined
that the movie game would not lick her,
and it didn't. Lily Pons' pictures have
been pleasant and Miss Swarthout's first
two were fair. However, the third, "Ro-
mance in the Dark," in which John Boles
is again her starring partner, proves that
she has "gotten there" at last. Yes, her
voice and beauty started her, but sheer
pluck and hard work were responsible for
her making the grade.
Lily Pons visits Eddie Horton
on the set of "College Swing."
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MODERN SCREEN
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Smoothly finished on the inside, Blend-Rites
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Ask your dealer for Blend-Rite "Glare-Proof
Bob Pins by Sta-Rite. If he cannot supply you
send lOfS mentioning color wanted (brown,
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Doug Fairbanks, Jr., and Gin-
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the first time in "Having Won-
derful Time."
Nelson Eddy has been giving a handsome
man a rush around all the studios lately.
Turned out that he was William Darius
Eddy, and Nelson's Pa to boot. Eddy, Sr.,
it's his first trip out here, is divorced from
Nelson's mother and lives in the East.
One of the most generous gals in pictures
is Sonja Henie. At the completion o{ every
picture her gifts are breathtaking. Besides,
Sonja gives constantly to all those who
need her help. F'rinstance, she's sending
the small daughter of one of the hairdressers
to a health sanatorium, the son of an extra
girl to a boarding school, and has an agree-
ment that anyone who needs money badly
while working with her can borrow from her
without any extra charge.
Bonita Granville seems to have
caught the spirit of her latest
picture, "Merrily We Live," if
this camera shot means any-
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When Claudette Colbert goes to the
projection room to look at the daily rushes
of "Bluebeard's Eighth Wife" her con-
stant companion and, she claims, severest
critic, is Smoky, her French poodle. If
Smoky doesn't like what he sees he polite-
ly holds his tongue, but if it appeals to him
he barks his head off. Claudette is hoping
"Bluebeard's Eighth Wife" will be a "four
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120
MODERN SCREEN
EOINGS-OH IN GOTHAM
(Continued from page 59)
guests at a nearby table,
j Later on, when she was introduced to
the entire room, the guests at the next
I table gave her a gentle but firm razzberry.
:, Whereupon, one of Gracie's friends got
I up and took a poke at the worst of the
I offenders. The w. of the o. took a poke
right back and the panic was on. Mean-
! while, the cinematic song bird disappeared
into the night and next day refused to com-
ment on the previous evening's activities.
WILLIAM POWELL and pretty Lo-
retta Young had themselves a whirl
in our town and created quite a furore when
they appeared together at the Horse Show.
No romance, y 'understand. The two just
happened to be staying at the same hotel
and since they're good friends, they decided
to see the town together. Joe Mankiewicz
is still Head Man in Loretta's young life
and Bill just isn't interested in sentiment
these days. In fact, he had just completed
a European trip.
"The way to try to forget," said Bill,
referring of course to the beautiful Jean
Harlow, "is to keep going. Just don't give
yourself a minute in which to think 1 When
it begins to get you, move on fast to the
next place. That's how I, manage to survive
anyway !"
Bill was planning to return to the Coast
to make "The Baroness and the Butler"
with Annabella. The story had- originally
been called "Jean," but the Powers That
Be decided to change the title in deference
to their star. Incidentally, actors have
come and actors have gone, but William
Powell is more popular today than ever.
He claims that one of the reasons he keeps
Whatever
Ann Gillis is
whispering in
Tommy Kel-
ly's ear seems
to please the
young man.
It's all part of
the plot for
"The Adven-
tures Of Tom
Sawyer.''
going is that his beauty will never get him
into trouble.
"Even when I was very young, I never
played juveniles," said Bill. "I just wasn't
the type. Not being able to depend on my
looks, I simply had to try to act. And
so, even when I began my career, it was in
the capacity of a youthful character actor."
Speaking of acting and personal appear-
ances— Frances Langford cracked the
record at New York's Paramount Theatre.
"I've never been more thrilled in my
life," breathed the demure Frances. "You
know, I haven't been in New York in
four years and was sort of afraid they'd
forgotten me. Instead, everybody's been
wonderful. This has all been even more
exciting than my first visit home after
I'd really gotten started in pictures, and
that's saying an awful lot !''
And so the movie lights come and go
and, during their short sojourn, somehow
manage to make even the Broadway bright
lights seem a bit brighter.
GIRL ON OATH TELLS HER
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unable to win friends and popularity.
For, with these amazing new Iron-
ized Yeast tablets, thousands who
never could gain before have put on
5 to 15 pounds of solid, naturally at-
tractive flesh — gained new pep and
charm — often in just a few weeks I
It sounds almost unbelievable. Yet
listen to what Miss Anne Johnston,
who is just one of many users, swears
to before a Notary Public:
"Under the strain of working in
several pictures in Hollywood, I be-
came terribly rundown. I lost weight,
my skin looked terrible, I suffered
with headaches and my nerves were
simply on edge. Of course I knew I
couldn't stay in the pictures, looking
so skinny and wornout. I was in de-
spair until a friend recommended
Ironized Yeast tablets and I bought
a bottle. Almost at once I felt lots
peppier and stronger. My skin cleared
beautifully. All my headaches and
nervousness disappeared, and in 2
months I gained 8 pounds. "With my
new pep and new figure I've gained
loads of new friends, and the hard
work of pictures never bothers me."
Anne Johnston, Jackson Heights, N. Y.
Sworn to before me
Donald M. McCready, Notary Public
Why they build up so quick
Scientists have discovered that hosts
of people are thin and rundown only
because they don't get enough Vita-
min B and iron in their daily food.
Without these vital elements you
may lack appetite and not get the
most body-building good out of what
you eat. Now you get these exact
missing elements in these new Iron-
ized Yeast tablets.
They're made from one of the
world's richest sources of health-
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used in making English ale. By a new
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yeast to make just one pound of con-
centrate— thus making it many times
more powerful in Vitamin B strength
than ordinary yeast. Then 3 kinds of
strength-building iron (organic, inor-
ganic and hemoglobin iron) and pas-
teurized English ale yeast are added.
Finally every batch of this Ironized
Yeast is tested and retested biologi-
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insures its full weight-building power.
No wonder, then, that these new easy-to-take
little Ironized Yeast tablets have helped thou-
sands of the skinniest people who needed their
vital elements quickly to gain new normally at-
tractive pounds and new charm.
IVIake this money-back test MIss Anne Johnston swears before Notary PubUc McCready
To make it easy for you to try Ironized Teast,
we do better than offer you a small sample pack-
age. We offer you a FULL SIZE package, and
you don't risk a penny. For if with this first
package you don't begin to eat better and get
more benefit from your food — if you don't feel
better, with more strength, pep and energy — if
you are not convinced that Ironized Yeast will
give you the normally attractive flesh you need
— the price of this first package will be promptly
refunded. So get Ironized Yeast tablets from
your druggist today.
Special offer!
To start thousands building up their health right away, we make this special
offer. Purchase a package of Ironized Yea.st tablets at once, cut out the seal
on the box and mail it to us with a clipping of this paragraph. We will send
you a fascinating new book on health. "New Facts About Your Body." Ite-
member. results with the very lirst package — or money refunded. At all drug-
gists. Ironized Yeast Co., Inc., Dept. 33. Atlanta, Ga,
WARNING: Beware of the many cheap substitutes.
Be sure you get the genuine original Ironized Yeast.
121
The mink and ermine contingent of Hollywood
turned out en masse for the premiere of "Snow
White and the Seven Dwarfs," Walt Disney's
first feature-length film. Freddie Bartholomew
and his Aunt Cissie were among the first to
arrive. Claudette Colbert and Mrs. Ernst
Lubitsch were also among those who so enthu-
siastically applauded Mr. Disney's artistry.
George Arliss and Fred MacMurray were
snapped as they entered the theatre together.
Shirley Temple attended the opening
with Ann Bennett, left, and Justine Jones.
Printed in tlie U. S. A. by Ai't Coior Printing Company, Duneilen. N. J.
122
l(a)Lo i/> tfcl OTijBcj u^hAju^
MhA/il to ik^UrMiiL
World CopyrisM. 1938, NEA Service, Inc
{^nmile^\ Karo is rich in ^^^^^^ the food energy sugar |
)VER 250 PICTURES IN THIS ISSUE!
THE lARGE-Sl
CIRCULATION
OF ANY SCRfcfcN
MACjA/lNt
HAS BOB TAYLOR HAD
A CHANGE OF HEART?
MODERN SCREEN
.AND MEN CAN BE SUCH
AWfUt GOSSIPS TOO!
Let's face the truth about
UNDERARM PERSPIRATION ODOR
MEN DO TALK about girls behind
their backs— although they won't
admit it. Is a girl pretty, a good sport,
a smooth dancer? The answer quickly
goes the rounds!
They talk about other things, too.
About the girls they hate to dance with
—the girls they simply won't take out.
For a girl must be more than pretty and
smart. She'll never make a hit with men
unless she is truly sweet— nice to be near.
Unpopularity often begins with the
first hint of underarm odor. This is one
fault that men can't stand — one fault
they can't forgive. Yet any girl may
offend this way, if she trusts her bath
alone to keep her fresh!
Smart girls— popular girls— don't take
chances! They know a bath only takes
care of past perspiration— rhzx they still
need Mum, to prevent odor to come.
MUM LASTS ALL DAY! All day or all eve-
ning long, Mum's protection is sure.
MUM IS SAFE! Mum does not stop health-
ful perspiration. Even after underarm shav-
ing it never irritates the skin. And Mum
is completely harmless to fabrics— safe to
apply even after you're dressed.
MUM IS QUICK! One half minute is all it
takes for a dab of Mum under each arm!
To be a girl men like to have around, use
Mum every day and after every bath.
FOR THIS IMPORTANT USE, TOO
Thousands of women use Mum for Sanitary Nap-
kins because they knotv Mum is so gentle, so sure!
Don't risk embarrassment! Always use Mum!
HOURS AFTER YOUR BATH MUM STILL KEEPS YOU SWEET
Mum
TAKES THE ODOR OUT OF PERSPIRATION
>^C1B 3 7 3Z8 0
HAR -4 1938
MAKE
HIS
EASY CHAIR
REALLY
EASY!
LIGHT CONDITION WITH
New and Brighter
G-E MAZDA LAMPS
It'S simple to do. And
you can begin to light condition
at surprisingly little cost.
Put a new G-E bulb in your
three-light I. E.S. Better Sight Lamp
... 100 -200 -300 -watts only 65^.
Then watch the man in your
family relax as he reads. See that
your I. E.S. bridge and table lamps
have a 100-watt G-E bulb . . . 20^.
Brighten up your kitchen with
a 150-watt bulb for only 25^.
And for general use, 60-watt G-E
bulbs, or smaller . . . only 15^.
Buy the new and brighter 1938 G-E bulbs ^
where you see this emblem displayed.
MODERN
SCREEN
Regina Cannon Editor
Leo Townsend Hollywood Editor
Abrll Lamarque Art Editor
Copyright, 1938, by Dell Publishing Co. Inc.
NOW SHOWING
BRIGHT BOy
HAS BOB TAYLOR HAD A
CHANGE OF HEART?
HONEYMOON HOME
LOVE IS OUT
CLAUDETTE TAKES HER
MEASUREMENTS
HOW TO BE RUDE POLITELY
DEBUNKING DAVIS
CLOSE-UP OF A COMER
HOLLYWOOD HUSBAND
IT'S TOUGH TO BE SINGLE
WHAT HAVE THEY THAT YOU
HAVEN'T?
, BOB SPEAKS UP
NOT SO DUMB
TRICKS OF THE BEAUTY GAME
IT'S KELLY TO YOU
SHORT SUBJECTS
REVIEWS
STYLED FOR SPRING
INFORMATION DESK
PORTRAIT GALLERY
CANDID CAMERA SHOTS
GOOD NEWS
SPRING SMARTNESS
EASY AS PIE
BETWEEN YOU 'N' ME
OUR CROSSWORD PUZZLE
MOVIE SCOREBOARD
12 LOISSVENSRUD .
26 GLADYS HALL
28 VIRGINIA T. LANE
30 JAMES REID
32 GLADYS HALL
34 IDA ZEITUN
36 DORA ALBERT
38 SONIA LEE
40 A MOVIE TRUE STORY
42 CAROLINE S. HOYT
44 KAREN HOLLIS
46 FRANC DILLON
47 MARTHA KERR "
48 MARY MARSHALL
50 NANETTE KUTNER
8 WHAT TO SEE
14 KNITTING INSTRUCTIONS
16 ALL THE ANSWERS
19 STAR PHOTOGRAPHS
51 HOLLYWOOD IN PICTURES
64 MOVIE GOSSIP
74 FASHION TIPS
80 FOR MARTHA RAYE
82 PRIZE LETTERS
88 MOVIE X WORD
126 PICTURE RATINGS
Modern Screen, No. 301773. Published monthly by Dell Publishing Company,
Incorporated. Office of publication at Washington and South Avenues, Dunellen,
N. J. Executive and editorial offices, 149 Madison Avenue, N. Y. Chicago, III.,
office, 360 N. Michig&n Avenue. George T. Delocorte, Jr., President; H. Meyer, ,
Vice-President, J. F. Henry, Vice-President; M. Delocorte, Secretar/. Vol. 16/
No.. 4, March, 1938. Printed in the U. S. A. Price in the United States, $1.00 a
year, 10c a copy. Canadian subscriptions, $1.00 a year. Foreign subscriptions
$2.00 a year. Entered as second class matter, September 18, 1930, at the Post-
office, Dunellen, New Jersey, under act of March 3, 1879. Additional second class
entries entered at Seattle Washington; Son Francisco, California; and hlouston,
Texas. The publishers acr:ept no responsibility for the return of unsolicited material.
Sole foreign Agents: The International News Company, Ltd., 5 Breams Building,
London, E.C. 4, England. Names of characters used in stories and in humorous and
semi-fictional matter are fictitious. If the name of a living person is used it is purely
a coincidence.
mm.
mm
GENERAL^ELECTRIC
MAZDA LAMPS
4
MODERN SCREEN
^^BOLGER^^^^PIDGEON
^CARRILLO ^^EBSEN
Directed by ROBERT Z. LEONARD • A ROBERT Z. LEONARD Production
Produced by WILLIAM ANTHONY McGUIRE • An M-G-M Picture
Based on the play by David Belasco
AV,o»»«'^«;r;:::s comedy
ger's
5
MODERN SCREEN
'OoA.PiEAst STYLED
PLAY WITH ME!
FOR SPRING
Maybe you're like this father. He knew he should
spend more time with his child but too often he just
didn't have the energy. He was fagged out, ill-tem-
pered, headachy. Constipation had stolen his pep
and nothing he tried really seemed to set him right.
NOW m'S so GLAD HE
fRIED THIS NEW IDEAS
What a lucky day it was for him when a friend rec-
ommended FEEN-A-MINT! He was delighted with
this pleasant, easy way to take a laxative — found it
tasted just like delicious chewing gum. More impor-
tant still, he found it gentle, thorough, and trust-
worthy. yo«'W find— as he did— that no other type
of laxative can do exactly what FEEN-A-MINT
does! No wonder 16 million modern folks prefer it!
Here's why you'll prefer
FEEN A-MINT
NO STOMACH UPSET-With
FEEN-A-MINT you don't swallow a
heavy, bulky dose; there is nothing to
burden digestion.
CHEWING AIDS DIGESTION —
The chewing stimulates the fiow of the
same natural alkaline fluids that help
food digest.
ACTS WHERE YOU NEED IT —
FEEN-A-MINT's tasteless laxative in-
gredient does not affect stomach action.
It passes to the intestine and works
where it should.
FEEN-A-MINT won't gripe or nauseate you, or dis-
turb sleep. It's grand for children, too. They love its
delicious flavor. FEEN-A-MINT is truly the laxative
you should use in your family. Try it ! — find out for
yourself what a wonderful difference FEEN-A-MINT
makes! At all druggists, or
write for generous FREE
trial package. Dept. 60.
FEEN-A-MINT.
Newark. N. T.
DELICIOUS
Tastes like
your favorite
chewing gum
No. 1322— The lines
of this soft angora
sport blouse cling
flatteringly to the
youthful figure.
Smart details lend
an air of distinc-
tion to a practi-
cal sweater.
No.4207— Amodel
that will work won-
ders for you, this
smart two-piece
dress with striking
marked trimming
is plain crocheted
in a simple stitch
FOR THE knitters this month,
we have a smart classic sport
blouse, knitted in simple chain
stitch of sport angora, a yarn
just made for light spring
sweaters. The lines of this
blouse are youthful and cling
beautifully to the young figure.
The small collar sets off the
butterfly bow, which is trimmed
with leather buttons to match
the belt. Make this in your
favorite pastel shade and wear
it right into the summer.
You'll be surprised to learn
that the stunning white two-
piece dress with its striking
marked trimming is crocheted
of light airy cotton in a simple
stitch that even a beginner can
master ! The zipped front is
not only new, but convenient.
The pockets are cleverly fas-
tened with tiny white tabs
drawn through slits on the
pockets, and the slightly puffed
sleeves give a flattering illusion
of width to the shoulders.
Spring is just around the
corner, so be ready for it ! Clip
the coupon and send for these
new designs today.
Even if you've never tried
knitting at all up to now, you'll
be amazed to see how quickly
these things will work up.
ANN WILLS. MODERN SCREEN
149 Madison Avenue. New York, N. Y.
Kindly send, at no cost to me:
Knitting directions for 1322
Crocheting directions for 4207
I am enclosing a stamped, addressed (large) envelope.
Name
Street
(Check one or both designs and please print name and
address)
6
MODERN SCREEN
11
He thought he knew how to tame a Frau,
But Gary's in the Doghouse now...
YOU BET..." (^OjJktli
Adolph Zukor presents
CLAUDETTE COLBERT-GARY COOPER
'BLUEBEARD'S EIGHTH WIFE"
EDWARD EVERETT HORTON-DAVID NIVEN • Elizabeth Patterson • Herman bing
Screen Play by Charles Bracket! and Billy Wilder • A Paramount Picture
Based on the Play by Alfred Savoir • English Play Adaptation by Charlton Andrews
Produced and Directed by ERNST LUBITSCH
7
M O M E REVIEWS
^^^^
★★★★The Buccaneer
^ . , have here W
1 turned oxit enter-
S^'^?^f^SHs;eiSS^
American sVups a est he offers himself and
★★★★\n Old CWcogo ^^ ^^^^^^
. a .St, e.-- -^^^^^^^^
^p^S't^-vt blaze cau.^^^^^^^^ rtS^iSfpenttlon.
k^^. B^^^ ^^^^^
^^^3 sT^lngle^P-^o^-^-Vr^dX^^^
fr?"iarce comedy, M.ss^^ ^"bS a%Xret gf
woman is the ^^leiit as U^"' ^^^ce Faye, as a g^.g
Slove fi*.?'";- OAets ^SZlev' Pti''"' Dieted b,
s-^slrs^e^iSv'a^^^
Berton Ch^;^^=^?o/h Cei'tWi'-^"'^-
Henry l^i"=-
★★★ tvery"-- / ; ou. For
There is f^lTaU-work (and 5" Xg, who ior >ea , ,,ris
Here is
one thing,
single song-
BY LEO TOWNSEND
MODERN SCREEN
* DAVID COPPERFIEID *
OTHiNG SACRED *
111
O
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>
Z
o
<
I"
(A
<
The Best Of
David O. Selznick's
10 Best Pictures
Selznick International presents
MARK TWAIN'S BELOVEP CLASSIC
✓J THE
c/Idventures
OF
TbM Sawyer
IN TECHXICOLOR
DIRECTED BY NORMAN TAUROG ^ RELEASED THRU UNITED ARTISTS
•a
Ui
O
Z
m
90
O
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N
z
>
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-4
HI
6—
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90
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*
DANCING LADY ic DINNER AT EIGHT
*
9
I
Happy Landing
oanin in
rX^OU^^r/ .Happy Land-
. r silver skates score ^^ff ^^u-iike Queen of
It is excellent enterta performance, ^thei ^^^g
taste, high-Ughtea course, put c.„tHO'-Fo-^ ■
sentiment ^^ou -pel Rutti.
torial credit goes xu
4r^^ Bad Man o{ Brimstone
yryCyf Oaa i^"^ Brimstone
with all the trimmings, f i pi^s a
A glorified westerm xN^th all t _^^ ?,ino and the plethora of
Bill li. is a is his o.n so"- '■fjIS s 0 K«'=> "
°,« to clean oP he ce"™™ f. „e«coii.et. D"™ , „iai. eithef m
Jitroction of h's i?-ieii»itely top ""5™ Virginia B™«
r»nB "»»i"',„"e defined drawing roo". ha.
«nEi.r rd rp«*r an* »s„?s s h. s'lwi" « |
^-eil^rSen'fo^'oSele ge..^^^ d,«ct,lt ,oh sV.ll-
^*eoia U Where You Bnd U
Here's a lesson in ;;;7„ed to proteet , - ,^ ^^cta
the '"Jti* «" "*
engine "peorf Brent^d ,here is an e.
{,om h>^.\°;re is excellent physica l _ in closing mome
Brothers-
Let our reviews be your guide in selecting movie "musts"
10
MODERN SCREEN
Andrea Leeds and Adolphe Vlenjou
in "The Goldwyn Follies."
'k'k^ The Goldwyn Follies
Mr. Goldwyn evidently sat down with
himself several months ago and told him-
self he'd make a musical to end all musicals.
He'd do it in Technicolor, he probably told
himself, and he'd throw in everything from
ballet to the Ritz Brothers, interspersed
with large portions of Charlie McCarthy
and Phil Baker. He'd even hire Kenny
Baker, and thus have the only musical of
the year with two Bakers in it. Then,
since a musical needs actors to carry on
while the comedians are going through their
files, he probably ordered himself to sign
up Adolphe Menjou and Andrea Leeds. So,
patting himself on the back, he walked out
of the conference room, completely forget-
ting one small item — a story.
We don't mean that "The Goldwyn
Follies" isn't good. It is. It's a fine musical
in many respects : the dancing of the
gorgeous Zorina, the beautiful sets, several
of the comedy sequences, for instance. But
we had come, in response to an excellent
advance publicity campaign, expecting the
finest musical of all time. What we saw
was a glorified vaudeville show boasting
many moments of beauty and good enter-
tainment, but its total effect is lessened
because Mr. Goldwyn walked out of that
conference without a story. George Gersh-
win's music is good, but there are no out-
standing tunes. Directed by George
Marshall. — Saiiiue! Goldwyn.
Tarzan's Revenge
Tarzan really gets his revenge this time,
but on the unprotected audience. We've
always been one to thrill over the lusty
doings of this guy Tarzan, but this time
our only response was a mild interest in
just what tricks the director would put
handsome Glenn Morris up to next.
Glenn, as the new Tarzan, proved to be
a trouper but not a Tarzan. Though
Eleanor Holm, as the lady in distress most
of the time, hasn't lost a bit of those un-
deniable good looks, she lost heavily
through the weak role assigned her in this
one. She might possess all sorts of dra-
matic powers, but you'd never guess it
from the part she essays in this picture.
Too bad, because the first picture venture
is an important one. The plot also brings
in Hedda Hopper and George Barbier as
her parents and George Meeker as Elea-
nor's Promised. Eleanor strays from the
African settlement which they all call home
and falls with bad company. About this
time the director must have yelled, "Page
Morris !" for in bounds Tarzan to the
rescue. Well, everyone tries awfully hard,
so the picture has that to recommend it.
Also there's a talented ape who deserves
top billing. Director : D. Ross Lederman. —
Principal.
{Continued on page 14)
mmmmxmum...
It rattled no chains and shook no bones — but there was an unwelcome
ghost in Mary's guest room! It hid in the sheets, the curtains, the linens.
Guests saw it with horror but didn't dare mention it — until Cousin Flo
saw the ghost in the bed.
The very next morning. Cousin Flo told Mary— "It's tattle-tale gray
that's haunting your clothes. Your weak-kneed soap doesn't wash things
perfectly clean. If you want to chase out that mean dingy shadow— to
banish tattle-tale gray — change to Fels-Naptha Soap."
And that was the end of the gliost in the guest room. Thanks to
Fels-Naptha's riclier golden soap and lots of gentle naptlia, Mary now
gets all the dirt out of clothes. The sheets shine so white— and everything
smells so fresh and sweet— friends say it's a thrill to sleep at her house!
. . . Why don't you play safe, too.' See how easy it is to . . .
Wi/f ''S7'ff///<^^ff/'e ^j'rr^:'' ( ^EW! Try )
P /' /> r~/p \ Fels-Naptha ^
M ki/'€'/.)^^f ffyf//frf b/r'<^/ ) Soap Chips, too! i
COPR. 1938, FEUS & CO.
11
MODERN SCREEN
YOU THINK Stu Erwin doesn't
know enough to come in out of the
rain? But do you know what they
say ' about him in Hollywood ? That
Stu Erwin puts on the best act in
town !
For he's as smart as they come,
this barefoot bumpkin from Squaw
Valley. He knows he'll be blunder-
ing around on the screen long after
the heart-throbbers have bit the dust
on the cutting-room floor.
But he wasn't always smart
enough to be dumb. There was a
time when he wanted to outshine
them all ! He wanted to emote. He
wanted to play Hamlet. He wanted
to be tall, dark and handsome !
It started back on the farm. He
would put on a performance for the
hired hands at the drop of the hat.
He was the pride and joy of his
parents when company came— boy,
how he could do "the curfew will
not ring tonight" — and make it
ring !
This state of aflrairs lasted through
high school in Pertersville, California.
The teachers almost wept in unison
when Stu received his diploma, for
who would carry the Decoration Day
programs?
Since his father had advised his
taking up a profession if he didn't
want to starve, Stu decided to look
into journalism. But after a year of
it, and after learning about reporters'
salaries, Stu decided that if he was
going to starve anyhow, he might as
well do it dramatically. So he took
the bus to Hollywood.
He didn't trv to crash the movies.
BY LOIS
S f E N S R 0 D
for he just didn't want to waste time
on the "bits" handed newcomers. So
Stu decided to enroll in the Eagan
School. It had a Little Theatre in
connection with it. Stu played any
role with emotional scope. He worked
terrifically hard.
One day he was called into the
office of the manager of a Holly-
wood theatre. There was a part for
Stu in a new play — and there was a
salary attached !
It was in "White Collars." But
the role was Covtsin Henry — a local
yokel if there ever was one.
"Hold on there, son," said the
manager, as Stu was making blindly
for the door, "let's talk this over.
Now Cousin Henry is something of
a simpleton."
"That's right," said Stu bitterly,
"and no one's going to think I'm a
sap."
"But did it ever occur to you that
that's a sympathetic role?" insisted
the older man. "That audiences will
love you as a sap — providing" you're
a fine enough actor to make it human.
Don't make it ridiculous — make it
humorous — then the simpletons in
the audience won't squirm in their
seats. They'll feel of loftier intelli-
gence and will go home remembering
you. Sure, they'll think the leading"
man is divine, but it's you they'll re-
member. Because you're themselves.
The people they know. Understand
what I mean ?"
STU ERWIN understood. He set
about then and there learning to
be dumb. And because he was a
bright young man it wasn't long be-
fore he was awfully dumb.
Every performance, he felt a
deeper sympathy for his role. He
played it forty-eight straight months.
He wasn't making much money, but
he was happy.
The play finally closed, but Stu
was snatched up immediately to play
the sap bridegroom in "Women Go
On Eorever" at the Morosco The-
atre. He had been in it a few days
when Winfield Sheehan of Fox
Studios, saw the show. "That's the
guy I want for 'Mother Knows Best,'
that one who doesn't know from
nothing," decided Mr. Sheehan, and
promptly took himself back-stage to
ofifer Stu the role of the village
nit-wit. ( Continued on page 128)
]udy and Bill with their famous father. The Erwins step out occasionally, but
He's never too busy to entertain them. to them, home is where the fun is!
12
MODERN SCREEN
DARLIIVG OF DIXIE! ""^Meanest when she's lovin' most!"
HENRY FONDA • GEORGE BRENT • Margaret Lindsay • Donald Crisp • Fay Bainter
RICHARD CROMWELL • HENRY O'NEILL • SPRING BYINGTON • JOHN LITEL
Screen Play by Clements Ripley,
Abetn Finkel and John Huston
A WILLIAM WYLER PRODUCTION
From the Play by Owen Davis, Sr.
Music by Max Stelner
13
MODERN SCREEN
"Raw" Throat?
Here's Quick Action!
ZoniteWins
Germ-KillingTest by 9.3to1
If your throat is raw or dry with a coming
cold, don't waste precious time on reme-
dies that are ineffective or slow-acting. De-
lay may lead to a very serious illness. To
kill cold germs in your throat, use the
Zonite gargle. You will be pleased with
its quick effect.
Standard laboratory tests prove that Zonite is
9.3 times more active than any other -popular,
non-poisonous antiseptic!
HOWZONITE ACTS— Gargle every 2 hours
with one teaspoon of Zonite to one-half
glass water. This Zonite treatment bene-
fits you in four ways: (l) Kills all kinds of
cold germs at contact! (2) Soothes the raw-
ness in your throat. (3) Relieves the pain
of swallowing. (4) Helps Nature by increas-
ing the normal flow of curative, health-
restoring body fluids. Zonite tastes like the
medicine it really is!
DESTROY COLD GERMS NOW— DON'T WAIT
Don't let cold germs knock you out. Get Zonite
at your druggist now! Keep it in your inedicine
cabinet. Be prepared. Then at the first tickle or
sign of rawness in your throat, stare gargling at
once. Use one teaspoon of Zonite to one-halt
glass water. Gargle every 2 hours. We're confident
that Zonite's quick results will more than repay
you for your precaution.
Florence Rice and Robert Young
on tour of their "Paradise For
Three."
Paradise For Three
In spite of there being nothing much to
this picture, that nothing much is so good
it would be a shame to miss "Paradise
For Three." The plot is one of those
mistaken identity ones, the setting the
Swiss Alps, and the background Viennese
waltzes. The characters are Frank Morgan,
Edna May Oliver, Robert Young, Mary
Astor, Reginald Owen, Henry Hull, and
Florence Rice. And with very little excuse
for a story, they all still manage to have a
fine time and give creditable performances.
Morgan is the multi-millionaire who wins
a soap contest for slogans, and is de-
termined to accept the prize in person, the
prize being a vacation at a swank Alpme
resort. His daughter, Florence Rice, sym-
pathizes with him and so helps him to take
this prize-winning trip incognito to the
other winners. Arriving at the resort, too,
is Robert Young, another winnah. Through
a mix-up perpetrated by Reginald Owen,
Morgan's valet, Robert Young is mistaken
for a millionaire and the real one is put in a
garret room. Then there is Mary Astor
to make life interesting for anyone with
money in the hotel. Having seen through
Morgan's incognito she has about landed
him when daughter saves all. Directed by
Eddie Buzzt\\.—Mctro-Goldzvyn-M oyer.
**Love On a Budget
This picture shows you how you can
afford both love and orchids on your
budget. Anyone would be interested in
such an exposition, but it also has_ the
Jones Family to recommend it. Shirley
Deane, the Jones' eldest daughter, is now
newly married to her florist, Russell
Gleason.
They have the love and orchids, but no
furniture in the honeymoon cottage, and
the only reason for this lack is that Russell
is staunchly holding out against his bride's
pleas to make use of that great American
institution, the installment plan. The crisis
arrives, though, when Uncle Charlie comes
to town. Uncle Charlie is a smooth talker
and it isn't long before he's persuaded
Russell to take a long shot on some bad
investments. It's pretty awful, the way
things turn out. Particularly for poor
father Jones, who has at last had the honor
of town mayor bestowed upon him. It's
the best "Jones Family" to date, and with
practically the same cast as in the ones
before, you are assured of genuinely good
performances by everyone concerned. Di-
rected by Herbert Leeds.— 20//; Ccntuvy-
Fox.
^it Love Is a Headache
This newest vehicle for Gladys George
will provide pleasant diversion for most
audiences, although the story material is
not up to the smooth performances.
Story concerns Miss George's efforts to
become a great stage star, and Franchot
Tone's efforts to put her over via his
Broadway column. When Tone announces
over the air that he is looking for a home
for orphans Mickey Rooney and Virginia
Weidler, an alert press-agent pounces on
the idea as a publicity gag for Miss George.
Tone is genuinely interested in the kids,
and refuses to believe the adoption is on
the level. He kidnaps the two, and Miss
George, whose maternal instincts have
come to the fore in the meantime, catches
up with them and takes them off. Tone
gets back into action just in time to be
married to Miss George at the point of a
female sheriff's gun.
Bewildered by the situations cast upon
him by his stooge, Frank Jenks, Tone
handles his oppressed comedy situations
with the exact amount of understatement
necessary. The late Ted Healy, Barnett
Parker, and Frank Jenks furnish an
abundance of comedy, and Ralph Morgan
gives another suave characterization. Di-
rected by Richard Thorpe. — M-G-M.
** Penrod and His Twin Brother
Warners' second Penrod feature is a not
too bad excuse to keep the Mauch Twins
in the public eye after their work in "The
Prince and the Pauper." Pets, parents,
gangsters, juvenile G-men, and a case of
mistaken identity are the lighter sum and
substance of the picture.
Don't be misled by the title. Penrod
(Billy Mauch) does not have a twin
brother, but a new kid in the neighborhood
is his double (Brother Bobby.) Although
Penrod owns a personable pooch, the
double owns a double pooch who is vicious.
The Mauch Twins handle their parts like
seasoned troupers. Spring Byington, as
Penrod's mother, is winning as always, and
Frank Craven, Charles Halton, and Claudia
Coleman are convincing as the other
parents. Directed by William McGann. —
Warner Brothers.
Swing Your Lady
To really get you out of the doldrums,
we prescribe this picture instead of your
favorite alkalizer. "Swing Your Lady" is
full of pep and punch and that old per-
Spring Byington and Jed Prouty
have some inside news on
"Love on a Budget."
14
MODERN SCREEN
Penny Singleton and Eddie
Acuff all set to step out in
"Swing Your Lady." Penny is
the young lady who used to be
known as Dorothy McNulty.
sonality. A whole cast of hill-billies assure
you the laughs, and the characterizations
are ably handled by a cast including- Louise
Fazenda, Humphrey Bogart, Frank Mc-
Hugh, Nat Pendleton, Allen Jenkins and
Penny Singleton.
It's burlesque from start to finish, but
entered into with such apparent enjoyment
by the players that you'll be in the swing
of the thing in no time and find yourself
clapping hands and stamping feet. The
plot concerns the local yokel, Nat Pendle-
ton, who's fighting for Humphrey Bogart,
his astute manager. Nat, though, just
doesn't seem to have his heart in his work
and things are looking pretty dark for
Humphrey — until he meets up with Louise
Fazenda.
Now Louise is a wrestler, too, and be-
sides that she's the village blacksmith with
large and sinewy arms. It looks like the
perfect set-up to Humphrey to match Louise
and Nat in the battle of the countryside.
Nat thinks it's swell, too, but he reckoned
without his emotions. For he takes one
look at his buxom opponent — and it's love !
With the plot go some hilarious hill-billy
songs and dances by the Weaver Brothers
and Penny Singleton. Miss S. (formerly
Dorothy McNulty) ' is a personable and
talented new Warner Brothers recruit.
Directed by Ray Enright. — f-F a rner
Brothers.
*** A Yank at Oxford
In a fine spirit of hands-across-the-sea
and commercial sagacity, his studio sent
Robert Taylor to England to make a pic-
ture with Oxford University as the back-
ground. It's too early to report on the
success of the hands-across-the-sea gesture,
but commercially the picture is a howling
success. What's more, it of¥ers Robert
Taylor the best role he's had in pictures.
As a wise-cracking, cocky American ath-
lete, Mr. T. goes to town with a portrayal
that will definitely establish him among
the he-men stars and do much to dispel
the silly publicity about his "beauty."
Taylor, a star athlete in a midwestern
school, goes to Oxford with the avowed
intention of showing the English what's
being done in the way of sports. He gets
off on the wrong foot with his British
cousins, but eventually, of course, every-
thing is adjusted. The picture is most
entertaining during Taylor's belligerent
period, and sags only when Lionel Barry-
more, as the proud father, indulges his
penchant for chewing scenery.
Backing up the swell performance by the
star are several expert characterizations
by British members of the cast, notably
Robert Coote, Edmund Gwenn, GriflSth
Jones, and Vivian Leigh. Maureen O'Sul-
livan is adequate in the feminine lead. Di-
rected by Jack Conway.— M-G-M.
'ki^ Arsene Lupin Returns
Those of us who had given up Arsene
Lupin, the French super-thief, for dead
are in for a bit of a shock. He's back
again, as a gentleman farmer in love with
Virginia Bruce— both highly commendable
occupations. Arsene has assertedly given
up his life of crime, but he becomes seri-
ously entangled in a series of events built
around an emerald necklace belonging to
Virginia's family. For several reels,
skeptics in the audience will doubt M.
Lupin's sincerity.
. The picture is a fairly interesting mys-
tery thriller of the smooth-as-satin school.
Not particularly violent, it turns into a
battle of wits between Lupin (who is ad-
mirably played by Melvyn Douglas) and
an American detective (Warren William)
who gets into the case in New York and
follows it to its conclusion in France.
The emeralds themselves are in transit
most of the time — in fact, in spite of their
ample protection, they seem to be the
most accessible gems in all of France.
Both Melvyn Douglas and Warren
William are more than capable in their as-
signments, and Virginia Bruce is both
lovely and effective as the voung lady of
the piece. Of the supporting cast, Tohn
Halhday, Nat Pendleton, and E. E. Clive
are outstanding. Directed bv George Fitz-
maurice. — M-G-M.
Strong lioht . . . hard on your face
arelroof Powder
AFTER THE MOVIE or theatre -the midnight snack.
Glittering lights everywhere. Even your own
kitchen light blazes hard on your face!
Does it show up faults? Sharpen your face? Give
your powder that chalky look?
Try Pond's under the brightest lights. See how it
softens your face. Pond's shades are "glare-proof" —
blended to catch and reflect only the softer rays of
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any light. And doesn't show up!
True skin tones, uniformly
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Special ingredients make Pond's
Powder cling — fresh looking, flat-
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Copiiight, 193 8, Pond's Extract CompBny
IS
MODERN SCREEN
e sure
of yourself
with a clear SKIN
from WITHIN.
A SKIN that glows naturally bespeaks ra-
diant health beneath ... it is alive . . .
stays fresh! So, be good to your skin from
within and it will be good to you.
The reason for this is quite simple . . .
skin tissues must have an abundance of red-
blood-cells to aid in making the skin glow
... to bring color to your cheeks ... to build
resistance to germ attacks.
It is so easy for these precious red-blood-
cells to lose their vitality. Worry, overwork
and undue strain take their toll. Sickness
literally burns them up. Improper diet re-
tards the development of new cells. Even a
common cold kills them in great numbers.
Science, through S.S.S. Tonic, brings to
you the means to regain this blood strength
within a short space of time . . . the action
of S.S.S. is cumulative and lasting.
Moreover, S.S.S. Tonic whets the appetite.
Foods taste better . . . natural digestive juices
are stimulated and finally the very food you
eat is of more value. A very important step
back to health.
You, too, will want to take S.S.S. Tonic to
regain and to maintain your red-blood-cells
... to restore lost weight ... to regain
energy ... to strengthen nerves . . . and to
give to your skin that natural health glow.
Take the S.S.S. Tonic treatment and
shortly you should be delighted with the
way you feel . . . and have your friends com-
pliment you on the way you look.
S.S.S. Tonic is especially designed to build
sturdy health by restoring deficient red-
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At all drug stores in two convenient sizes.
The large size at a saving in price. There is
no substitute for this time-tested remedy.
No ethical druggist will suggest something
"just as good." @ S.S.S. Co.
WE CONGMTDlflTE THE WINNER OF ODR SCREEN STAR LETTER
CONTEST WHO HEARS FROM ELEANOR POWELL THIS MONTH
EDDIE QUILLAX (first
printing) From the
time he was able to walk
and recite. Eddie Quillan
demonstrated his the-
atrical ability. He was
born in Philadelphia, Pa.,
on March 31, 1907, and
it may have been signifi-
cant that the home of his
birth was on Hollywood Street in that city.
His entire family were theatrical folk and
at a very early age he became an important
part of the Quillan act, touring the big
time vaudeville circuits with two brothers,
a sister and his Scotch -Irish parents. His
vaudeville experience, however, didn't inter-
fere with his schooling, which he received
at St. Gabriel's School in South Philadel-
phia. Later, he finished his education at Mt.
Carmel. During the Woi'ld War, Eddie
served as a Four-Minute Speaker and did
his work so well that Lieutenant-Com-
mander Payne paid the youngster a signal
honor in giving him a special memento of
the occasion. In the early part of 102G
the Quillan troupe played the Orpheum
Theatre in Los Angeles, and Mack Sennett
was so impressed that he arranged a screen
test for Eddie and his two brothers.
Eddie's was the only one that turned out
well and Mack Sennett immediately drew
up a contract, only to learn that the Quillan
family had left town with the completion
of their Orpheum engagement. Mr. Sen-
nett had to hire detectives to find Eddie,
but he was finally located and there began
a promising screen career. Since that
time he has appeared in roles too numerous
to list here and is at present free lancing.
He's five feet, six inches tall, weighs a hun-
dred and fort.v pounds, and has brown hair
and eyes. His favorite sports are swim-
ming, tennis, volley ball and golf. He is
not married.
ELEANOR POWELL
(second printing) She
was born in Springfield,
Mass., and spent the first
sixteen years of her life
in that city. "VS^hen she
was six, her mother sent
her to dancing school, not
to learn to dance, par-
ticularly, but to over-
come her extreme bashfulness. The idea
worked like a charm as far as Eleanor's
shyness was concerned and she also be-
came an excellent dancer. Her mother
took her to Atlantic City the summer she
was thirteen and Gus Edwards, famous
producer of children's revues, saw Eleanor
doing an acrobatic dance on the beach. He
Avas so impressed that he asked her mother
January 24, 1938
Dear Phyllis Hlrsch:
I feel very nroud in acknowledging you the
winner of Modem Screen's Information Desk Screen
Star Letter Contest, for though I am writing you a
letter, think of all the votes you must have sent
In for me.
We screen players may seem in a world
apart to you, tut in reality we are Just like every-
body else who works hard at a Jot. Making pictures is
nV Jot and the only way I know I'm succeeding at it is
by the resconse accorded me by fans like yourself.
I sincerely hope that you'll continue to
like w Dictures and again, thank you for those votes.
Cordially yours.
WHAT YOU'VE BEEN
WAITING FOR
Want to know your favorite player's
address? In fact, would you like to
have a complete list of all the Holly-
wood stars' mailing address? It's yours
for the asking! So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you iust want to write a fan letter,
that we've compiled a complete list for
you, listing the players alphabetically,
according to their studio, and giving
their complete mailing address. They
ore all there, even the featured players,
printed In such a compact form that
you'll be able to keep the list In your
movie scrap book for reference when-
ever you want It.
To receive one of these lists all you
have to do is write to us and ask for
it, enclosing a large self-addressed and
stamped envelope. Don't forget that
last Item, as no request con be com-
plied with unless we receive your stom ped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
16
MODERN SCREEN
if the child might not appear nightly at
the Eitz Grill, agreeing that she would only
be required to do one dance a night and
could spend her days on the sand. Mrs.
Powell agreed and so began Eleanor's pro-
fessional career. Each winter, for several
years following, the girl and her mother
went back to Springfield where dancing les-
sons became almost a ritual. In the summer,
they would return to the seaside resort
and Eleanor would dance professionally
each evening. Her teacher, Ralph McKer-
nan, thought, by the time she was sixteen,
that she should go to New York for a try
at the musical comedy stage, but they
wouldn't give her a job on Broadway be-
cause she didn't know any tap steps.
Determined to succeed, she took ten tap
lessons from Jack Donahue. After that,
she worked alone for several weeks and
just five years later she was given an award
as the "World's Greatest Feminine Tap
Dancer." Her first New York show was
"Follow Thru." She wired her old danc-
ing teacher in Springfield to come to Broad-
way to see her debut. She bought him
a seat in the front row. .Just before the
opening of the show, her teacher died and
in order to keep Eleanor from knowing
what had happened, his wife occupied that
seat and fulfilled her husband's greatest
ambition in seeing his favorite pupil make
good in New Y'ork. She appeared in many
stage productions after "Follow Thru"
and made her first movie for Metro-Gold-
wyn-Mayer in 19.36. Her rise to screen
fame was as spectacular as her stage suc-
cesses and today she ranks at the top of the
list as a movie dancing star. Her current-
release is "Rosalie." She has always been
a great lover of sports. She doesn't smoke
or drink, sleeps at least eight hours a night
and is too interested in her work for any
serious romances. She's five feet and a
quarter Inch tall, weighs a hundred and
twenty-two pounds, and has blue eyes and
chestnut hair.
BOB STEE1,E (first print-
ing) Here is another son
of theatrical parents who
now carries on the his-
trionic tradition of the
family by pursuing a
picture career. He was
one of twin boys born to
Nita and Robert N.
Bradbury on .January
2.3. 1906. His parents were prominent on
the vaudeville stage and at the age of two,
Bob made his stage debut in a Fanchon and
Marco comedy sketch with his father. His
name was at that time, Robert Bradbury
but he was billed with his father as the
Murdock Brothers. When he was fourteen
years old he began his screen career under
the Pathe banner, making "The Adventures
Of Bill and Bob," with his twin brother.
He next signed with PBO and made
numerous Western pictures, establishing
himself as a well known he-man of the
wide open spaces. Since that time he has
made pictures for World Wide, Monogram,
Columbia, Mascot, RKO, and Supreme Pic-
tures. He is now under contract to Su-
preme. He's five feet, ten inches tall, has
brown hair and blue eyes and weighs a
hundred and fifty-eight pounds. He attended
Glendale High School in Portland and while
there starred in all forms of athletic
prowess. He uses no doubles for the most
harrowing scenes in his pictures and today
lists swimming, tennis and horseback rid-
iContimied on page 118)
INFORMATION DESK, MODERN SCREEN.
149 Madison Ave., New York, N. Y.
Please print, in this department, a brief life
story of:
Name
Street
City State
If you would like our chart with weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
If a stenographer's
abused hands could talk,
they'd say:
Office jobs are terribly hard on your
hands. Typing one minute ... filing
the next., .washing carbon smudges
off your fingers a dozen times a day.
First thing you know, your skin is
all dry, chapped, and "sandpapery"
...rough, red, and ugly! What your
hands need is quick-acting Hinds
Honey and Almond Cream.
Use Hinds every time your hands feel
chapped. Hinds soothes that drawn feeling
. . . rubs in quickly. Hands feel comfort-
able right away. Not gummy.
Go home every night with smooth, kiss-
able hands . You can ! . . . Even one appli-
cation of Hinds Honey and Almond Cream
helps bring your skin soft enchantment.
Hinds works fast . . . helps put back the soft-
ness that office work, harsh soaps, hard
water, and blustery winds take away. Contains the
"sunshine" Vitamin D— and Vitamin A, too. $1.00,
50c, 25c, 10c sizes. Dispenser free with the 50c size.
Hinds Honey and Almond
Cream for Honeymoon Hands
17
MODERN SCREEN
J-le's SO perfectly proper . . . /
She's so properly furious . . , /
YOU'LL BE SO DELIGHTED . . . THEY'RE
PERFECTLY DELIGHTFUL TOGETHER!
What do you think happens? . . .
when a butler with un-butler-like
ambitions serves a lady who thinks
he isn't entitled to. . .ambitions!
Bill at his debonair best . . .
and the girl whose breath-
taking beauty and dramatic
fire you merely glimpsed in
"Wings of the Morning". . .
now, in her first American -
made picture, the most glam-
orously exciting personality
ever to grace the screen!
POWELL
ANNABELLA
in
crt^ Baroness
A 20th Century-7ox Picture with
HELEN WESTLEY • HENRY STEPHENSON
JOSEPH SCHILDKRAUT • NIGEL BRUCE
J. EDWARD BROMBERG • LYNN BARI
The year s gayest and brightest romantic-comeciy sensation!
Directed by Walter Lang
Associate Producer Raymond Griffith • Screen Play
by Sam Hellman, Lamar Trotti and Kathryn Scola
Based on a play by Ladislaus Bus-Fekete
Darryl F. Zanuck In Charge of Production.
18
BOB, NOT long returned from abroad, wearing Amer-
ican clothes, tan and brown checked tweed coat, brown
slacks and minus an English accent, joined me for lunch-
eon in the studio commissary. It was his first appearance
at the studio since his return from England some weeks
before. And it' would be any good fellow's idea of Old
Home Week, for Clark Gable clapped him on one
shoulder. Spencer Tracy on the other, Jimmy Stewart
yanked his hair, Tyrone Power huUoaed to him, Regmald
Gardiner made noises like paper coming off the wall and
insisted that they were "ecstatic noises, welcoming noises."
Myrna Loy and Sophie Tucker, Rosalind Russell, Fanny
Brice, Maureen O' Sullivan, Judy Garland blew him their
BY GLADYS HALL
\S" BARBARA STANWYCK STILL "TOPS" WITH
b]0B or did his long absence IH EUROPE
|aUSE him to DISCOVER NEW INTERESTS?
own individual brands of kisses; directors, cameramen,
publicity men, members of the Press, gave him such a
hand as would have warmed the cockles of the most frigid
heart.
Bob consulted the menu, said to the hovering waitress
whose whole mind did not seem to be on her job, "Some-
thing light, please, Hke steak and potatoes and onions."
"Hi," I said, "what about the fruit salads you used to
order for lunch? You haven't gone roast-beef-of-old-
England on us, have you ? You haven't changed ?"
"Gosh, no," laughed Bob, "not me. What's all this
about my 'changing' anyway? You might suppose I'd
been gone ten years in the wilds of Tibet or somewhere.
Instead of which I spent four months in England doing
exactly what I do here at home. The only way I've
changed is that now when people mention the Champs
Elysee I can look intelligent. When folks speak of the
Place Vendome or the white cliffs of Albion I can adopt
that bright expression of one who is in-the-know.
"I can also look knowing, knowing nothing, when old
wines are discussed, the aged vintages of Italy and
France. I can act discriminating about roast beef and
Yorkshire pudding. When the low fogs of California
chase me off the tennis court, I can wave it away
with dour comments about the pea soup fog of
dear ole Lunnon. In other words, I can lie more
convincingly now than I ever could before, be-
cause now I have travelled."
AND THAT is true. Bob is much as always,
for always he has had a nice dignity, a
quietness, a certain mature fund of reserve
which has instilled what in any other
young man would be surplus good looks,
with something deeper than looks, a some-
thing you respect.
Now that dignity is, perhaps, a little
more pronounced; that quietness and
sense of soundness and steadiness em-
■ phasized. Whatever of adolescence be-
longed to Bob Taylor, whatever of the
collegiate, went overboard somewhere be-
tween here and England.
Barbara Stanwyck talked of Bob, on the
eve of his departure for England, and she
said, "Bob will soon be in England, making
a picture. He will be away for four months,
possibly six. Certainly when he goes, all my
affection goes with him. That's true now, to-
day, as I say it. Who knows about tomorrow?
I don't. Perhaps it is the best thing that could
happen to us, this separation. We have been to-
gether every day, every evening for the past two
years. We don't know whether we can live happily,
one without the other, or not. This parting should tell
us, one way or the other. If we find that we can't, then,
when Bob comes back, we will stop this dilly-dallying. We
have a great deal in common. Bob and I. When Bob is m
England he must go out, entertain, be entertained. We
have talked it over very sensibly. We are not engaged.
We are not married. If we were either it would be dif-
ferent." . ,
Remembering this, Bob smiled and said, "Well, now it s
'tomorrow' and nothing has changed. We still go to-
gether, Barbara and I, just as we did before I went away.
It is exactly, for both of us, as though that interlude, that
interruption, had never happened. We spend all of our
free time together, every minute of it. just as we did
before I left.' And we spend all of it in the Valley, at her
])lace or at mine. We never come into town, haven't been
in since I got back, several weeks ago. We sometimes go
to a movie in one of the neighborhood houses in the Val-
ley. We play games and listen (Continued on page 78)
27
HONEYMOON HOME
COME WITH OS OW M INTIMATE VISIT TO MIRMM HOPKINS' DREM HODSE.
SMALL WONDER IT ECHOES LAUGHTER AND CONTENTMENT, YOH'LL AGREE
SHE SAW it first from an airplane. A Conti-
nental-looking house with a single turret, standing
on a promontory overlooking the whole of San
Gabriel Valley and the sea. Behind it rose the
mountains, picturesque, dark, verdant.
"What a perfectly perfect spot!" said Miriam
Plopkins.
"It belongs to John Gilbert," explained the
stewardess. It was the home he had brought Vir-
ginia Bruce to as a bride. The place where he had
arranged for her the most luxurious suite in the
whole luxury-loving Hollywood. A lush Louis
XVI white satin wonder suite with solid gold fit-
tings in the bath.
Later, after Gilbert's death, the place was auc-
tioned off to a mysterious buyer. Some said it
was Marlene Dietrich. Some, a Spanish refugee
pnncess. It turned out to be Miriam Hopkins.
Shm, blonde, scintillating Miriam. The girl who
swishes through life on the tail of a comet. Here
today, off to Europe tomorrow. Irrepressibly gay
and gathering momentum as she goes. How would
she transform that house into a background for
herself? Frankly, I thought it was going to be
French. French and feminine as a lace frill. It's
neither. It's almost strikingly simple. I don't
faucets, but
frou-frou in
know what happened to the gold
they're not there. Not a touch of
sight.
"I loathe the word 'modern'," declared Miriam,
who happens to be as modern herself as a Thur-
ber drawing. "Please call my house anvthing but
that !" I call it charming.
She never does anything by halves. She sent
for an interior decorator and worked with him in
a fine frenzy until the last ash tray was in place.
So that when you see her house you see Miriam.
Her own ideas and her personality are reflected
in it as if it were a pier glass.
Shortly after she moved in she came to a cer-
tain decision — and Hollywood pricked up its ears
over the news flash : "Miriam Hopkins Weds Di-
rector Anton Litvak in Yuma." Litvak, who is
blonde and laughing, too, and as big as Miriam is
small. (Strangely, they fell in love while he was
directmg her in "The Woman I Love !")
"Do I carry you through the door even though
you've been here before?" he teased.
"Indeed you do !" said young Mrs. Litvak. The
house echoes their laughter, their deep content-
ment.
When each of your rooms blends into the others
The outdoor living-room is a jolly place, all
in white duck with nautical blue trim and
bamboo wood. Much fun is had here.
28
The master's bedroom is done in creamy
white, burgundy red and old mahogany.
Miriam, ds Becky Sharp, is on the wall.
BY VIRGINIA T. LANE
The master and the mistress of
Honeymoon Home fell in love
while he was directing her in
"The Woman I Love."
— that's harmony ! When they blend
with your own individual coloring —
that's smart ! For instance, every
time Miriam, with that mop of gold
hair of hers, walks into her living-
room it springs to life. You can im-
agine— with great yellow and cop-
per bowls on the tables and walls of
the softest hydrangea blue. And
what it does for her eyes ! You find
it repeated in that Metisse painting
hanging over the old Italian cabinet,
in the 18th century Chinese lamps
sitting at the end of the sofas. Usu-
ally there are giant bowls of hy-
drangea to add the final touch. Har-
mony plus !
Miriam never sits on a chair
when she can help it. She sits on
the floor or on those ivory leather
hassocks. "Stark white in a house
always reminds me of chloroform
and ambulance clanging. So," she
explained, "we used old ivory." It's
the color of the two hand-tufted
rugs sweeping down the floor, and
of the giant fabric couches drawn
up for a view of the grate fire. The
other color accent in the room is
brown. {Continued on page 84)
Regiments of books march up
and down the walls on either
side of the fireplace in the
large living-room.
LOVE
OUT!
B Y
JAMES R E I D
"I've given up a lot to
become a singer," de-
clccres Nelson Eddy.
"There are books I'd
like to read and shows
to see, but I haven't,
the time for either."
Nelson has luncheon in the
'studio commissary with
Eleanor Powell. A new ro-
mantic duo? Just you step
up to Mr. Eddy and ask
that question. We dare you.
ROMMCE RUMORS HOUND WELSON EDDY EVEN |S
BILL COLLECTORS HOUND YOU AND ME-DDT Y
ISN'T HIS HEART THAT HAS HIM WORRIED
30
In "The Girl Of The Golden West," Nelson has his most colorful role to dote,
ctnd a musical score that should delight his fans. Yep, Jeanette MacDonald is
the lucky gal again.
AT THE head of a singularly happy-go-lucky
group of bandits, Nelson Eddy swings down the
dusty road, astride a golden-brown horse. He is
their chief, Ramerrez.
On his head is a price of five thousand dollars,
gold. Also on his head, is a tremendous Mexican
sombrero. Over one shoulder is slung a colorful
Mexican serape. His clothes are the leather ones
of a hard-riding hombre of 1848.
On one side of him is Leo Carrillo, his face
creased with that familiar Carrillo smile. On the
other side is Leonard Penn, looking unfamiliar
with a long scar (strictly make-up) on one cheek.
Behind them, also on horseback, string a nonde-
script crew of cut-throats, loaded down with loot.
Apparently indifferent to possible pursuers, they
are all singing a robust song about a playful mos-
quito. But the focus of attention is their leader.
A carefree caballero, singing handsomely on a
handsome horse.
Thus does Nelson Eddy make his entrance in
"The Girl of the Golden West." A highly effec-
tive entrance. No member of any audience will be
inclined to deny Jeanette MacDonald the pleasure,
later in the script, of falling in love with him.
It isq't too difficult, seeing him and hearing him,
to get the idea that he could be Caballero Number
One of Hollywood without much struggle, if he
were really interested. But he isn't. He told me
so. We were in his dressing-room, after the day's
.shooting.
"Don't talk to me about love, or expect me to talk
about love," he said, pointedly. "I'll talk about
anything else under the sun. But that subject is
out.
"Maybe I'm in love, and maybe I'm not," he
went on. "Either way, it's strictly my business.
If I keep my mouth shut about it, I can't hurt
anybody.
PEOPLE TRY to tell me I'm hurting myself, not
encouraging more romance rumors. Don't worry, I
don't have to encourage them. They'll print them
anyway, true or not.
"It may be a matter of curiosity whether movie
stars are, or are not, in love. But it isn't a matter
of importance, except to the stars concerned. The
only thing about them that's important, in the long
run, is: 'How are they doing their jobs?' All
right, I'm not forgetting that.
"I don't go out, running newspapers," he con-
tinued. "I fail to see why I should let the news-
papers run my life. When I go out, I want to go
out for fun, not publicity. When I give a party,
I want my friends to have the feeling that it's for
them, not for publicity. I may have a dozen
people in, or forty, but there won't be a columnist,
or a reporter, or a photographer in the crowd. I
don't like to embarrass my guests. I believe in
letting them relax.
"But don't get me started on this subject of a
right to a private life, part of the time, or we'll
both be here till tomorrow morning.
"And don't get me wrong. Don't get the notion
that I'm a big party man in secret. I'm not. I just
want to put across the {Continued on page 76)
31
Claudette and
Gary Cooper
are getting set
here for a scene
from "B 1 u e-
beard's Eighth
Wife." It should
have been a
love scene but
Mile. Colbert
had a cold Gary
might catch.
Maybe Gary
looks like this
because he
and Claudette
have just fin-
ished ninety-
two dollars'
worth of caviar
in three days,
and they both
loathe it I
CLAUDETTE TAKES
HER MEASUREMENTS
AND ADMITS SUCCESS BUS MADE A DRASTIC
CHANGE IN HER! HOW MANY OTHER STARS
WOULD DE FRANK ENOUGH TO SAY SO?
DY GLADYS HALL
AT A TEA in New York some ten years ago, a fellow
guest said to a dark, shy girl named Lily Cauchoin, "You
ought to go on the stage, my dear." The fellow guest
may have l^een making a pleasant remark to a pleasant
youngster, just to pass the time of day. Or she may have
had the gift of second sight. Whichever the motivation,
the dark, shy girl said, "How?" The guest replied, rather
vaguely, that she happened to be a friend of a friend of
Ann Morrison, the playwright, and that she could introduce
32
Mademoiselle Cauchoin to Miss Morrison. "When?"
asked Lily Cauchoin.
Pinned down, thus, by a force far stronger than the
drifts of pleasant chit-chat at a party, the friend of the
friend effected the introduction and Lily Cauchoin, re-
christened Claudette Colbert (because her mother always
called her Claudette, though she doesn't know why) got
a three-line part in "The Wild Westcotts."
Now, mind you, Lily Cauchoin, not long arrived from
France, not long bereaved of her father, had never so
much as dreamed of going on the stage. She had planned
to become a dress designer, possibly an artist. She knew
that she had to earn her own living. More importantly,
she knew that she could. Essentially independent, she had
no doubt that she could make her own way in the world.
But that that world would be the theatre world was as
far from her imagining as that she should suddenly be
offered a job in the mj^hical Land of Oz. The stage had
simply not occurred to her. But when it did occur to her,
she acted with such directness of purpose that any little
obstacles which might have cluttered the pathway of a less
realistic young person, fell over like the frail toy ninepins
with which children play.
This is all very sedate and pleasant, but
the day before Gary and Claudette
slapped each other for hours, as part
of the plot, of course.
Which provides Key No. 1 to the fundamental character
of Claudette, now as then.
For Claudette is a realist, not a romanticist. She didn't
go about dreaming that she might go on the stage, drama-
tizing herself. But when the opportunity came to go on
the stage, she seized it with both her practical young
' hands. T said to her, just to check my own conclusion,
"You are really a realist, aren't you?" And she said,
"Oh, but definitely." She added, "I don't believe that
the moon is made of green cheese, you know. I'm not
that realistic. But neither do I believe that it is inhabited
by a sloe-eyed gentleman made of ectoplasm."
And so there she was, on the stage. And those three
lines were, for the young novice, three whips that scourged
her. For she was completely lacking, then, in self-
confidence, in self-assurance, not to mention her enormous
lack of experience. But being, a realist, and French, and
practical, she held firmly to her one major motivation,
which was that she had to earn her living and that here
it was, on the stage, laid in her lap by a lady at a tea party.
The career of Claudette began as a mixture, a blend,
of chance, courage, opportunism and necessity.
Having survived the run of her three lines, she was
recommended to Brock Pemberton for the leading role in
"The Marionette Man." She got it, but the play was a dis-
mal failure, with such slams from the critics as "The play
was bad enough but Colbert was worse."
In spite of this, however, other plays followed. "A run
of luck" she calls it, for Claudette was then, and is now,
riddled with superstitions.
She said, the other day, in her portable dressing-room
on the set of "Bluebeard's Eighth Wife," "I am horribly
superstitious. I believe that luck runs or it doesn't. And
when it doesn't, you'd better rest your feet, too. I shudder
at the sight of a black cat. I say 'bread and butter' when-
ever indicated. I make wishes on hay wagons. I look at
the moon over my left shoulder. If I break a mirror I
have a nervous breakdown myself. I had a spasm when
Marlene Dietrich told me one time that if you look at
the moon through glass, it doesn't do any good. I've
It appears as though Claudette might
be singing here, but in the picture Gory
makes his singing debut, with "Lookie,
Lookie, Here Comes Cookie."
nearly caught my death of cold ever since, running out
in the rain and cold to look at the moon over my left
shoulder with no window glass intervening."
TODAY, Claudette has completed the conquest of
Broadway, and put Hollywood into her make-up box
and walked home with it, trailing the Stardust of such
spectacular successes as "The Gilded Lily," "Maid Of
Salem," "I Met Him In Paris." "It Happened One
Night," "Imitation Of Life," "Private Worlds," "She
Married Her Boss," "Tovarich" and, now, "Bluebeard's
Eighth Wife." She is happily married to Dr. Joel Press-
man, has built her own home to her own taste, her
mother with her, her friends alx)ut her, contracts and
offers of contracts literally falling on her dark, unturned
head.
But /low is she?. What is-she, now? (Cont'd on page 115)
33
HAVE YOD EVER FELT THE DRGE TO BE IN-
HOW TO BE
RUDE POLITELY
Bill has a constitutional objection to getting
up in the morning, which his man Theodore
completely ignores. Mr. P. has a trick way
of dealing with the situation.
BY I D A Z E I T L. 1 H
WHEN A man is by nature courteous, as Bill Powell is,
yet finds himself on occasion in a spot where the ordinary
forms of courtesy do him no good, there ensues a problem.
The problem is how to be rude politely.
Powell has solved it to his own satisfaction and, judging
from his reputation for good manners, also to the satis-
faction of all concerned.
When I asked him to describe his system, he said,
"System? Perish the thought. I close my eyes and trust
to my mother instinct. Wait a minute, though. There is
one rule that works under certain conditions. Rule : Say
all the bitter things that boil within you, but keep your
mouth shut. In other words, preserve an impassive front
and say them to yourself. Thus you purge your spirit of
venom, yet hurt no one, killing two birds with one stone,
SULTING-Tfl SPEAK YOOR MIND JOST ONCE? BILL POWELL TELLS YOD HOW TO GET AWAY WITH IT
which they taught me at school was an admirable feat.
Myself, I don't hold with bird-killing, two stones or one.
Some of my best friends are birds."
Mr. Powell likes to go off on tangents. The faraway
hills look greenest, and his nimble mind leaps goatlike
from peak to peak, to nibble at a juicy quirk here or a
fresh fancy there. This is partly good spirits, partly a
flair for adventures of the imagination. I drew him back
to the point.
"Oh, yes, well, that's a method I apply mostly in the
mornings. You see, I have a constitutional objection to
getting up. There's no particular harm in it, really just
a lovable idiosyncrasy except that, being a son of Adam,
I must toil. When one toils, as you may have discovered
for yourself, one toils by the clock. And I hate clocks.
I was born prematurely, and I think I've been trying to
catch up with myself ever since. I was built to saunter,
not to gallop. I am known about the studios as Flash
Powell, with two speeds. Slow and Stop. There are times
when this feud between me and a clock develops into some-
thing like a mania.
"I remember, for example, when Dick Barthelmess and
I were living in Great Neck and working on a picture
in New York. It became a contest as to which of us
could get up last, and still make (Continued on page 98)
We'll let you in
on a secret.
Some of Bill
Powell's best
friends are
birds. He says
so himself.
Y DORA
L B E R T
DEBUNKING DAVIS
Sweet and demvire might be
the words for Bette here, but
she insists she's neither.
And she'll always speak
her piece, out loud, tool
NEVER EXPECT BETTE DAVIS TO TELL THE TRUTH ABOUT HERSELF BECADSE SHE DOESN'T KNOW HOW,
BDT OOR TOP BOTCH "IPESTIGATORS" SEE ALL, KNOW AU AND WHAT'S MORE-DISCLOSE ALL!
BETTE DAVIS' blue eyes were bright with fttry. She
got up from the divan, picked up a magazine that was
lying on her library table, and flung it open contemptu-
ously. Then, her voice like a whip, she read, "I know
that a blonde (the type I am) is supposed to be something
of a gaiety girl — in for fun and petting parties and gin
and this modern thing called 'freedom.' I never have any
fun. I couldn't swallow gin. Petting would turn my
tummy upside down.
"That writer was supposed to be quoting me," she said,
her voice rising angrily. "What are people supposed to
believe, that I read nothing but grave books and medical
essays? Why, all my life I've never had anything but
fun. And as for not liking the taste of gin, I guess I can
drink as much as most girls. What will people think of
me?" she demanded indignantly.
Bette didn't know how funny she was being ; how utter-
ly incomprehensible from an interviewer's point of view.
For it is something unheard of in Hollywood for an actress
to resent being painlted as better than she really is. Most
Hollywood girls would like to be portrayed as little tin
angels. They think that the fans might be shocked to
know that they dyed their hair. They would rather the
public didn't know how much and what they drank.
Hollywood is full of masqueraders. But the strangest
of all the masqueraders is Bette. In almost every inter-
view she has given, Bette has lied about herself. She has
painted herself to the world and to her fans as a com-
pletely selfish person; a hard-boiled soulless young vixen
without family ties, without any real loyalty to her hus-
band, a woman who'd trample on everyone and every-
thing to become a success.
"I am hard-boiled," she has said. "I am ruthless. I
am not in human bondage to anyone or anything except
myself. I am a completely selfish person."
Never will you get the truth about Bette from Bette
herself. So this picture must be drawn from what I ac-
tually know about Bette and what I have gathered from
the people who know her best.
The day I first met her, she was making personal ap-
pearances in New York, right after she had played with
George Arliss in "The Man Who Played God." I waited
for her downstairs in the lobby of the theatre, hoping for
an interview.
Suddenly a man, obviously drunk, a shabby, disreputa-
ble looking creature, approached the doorman and said
that he wanted to see Bette, that they had once been in
the same show together.
The doorman went into a little side room to 'phone up
to her dressing-room and he came back and said, as though
he could hardly believe the words he himself was speak-
ing, "Miss Davis will see you right away."
He turned to me and, looking bewildered, he said, "Gee,
I don't know what she wants to see him for. I told her
that he was drunk and that he just wanted to make a
touch."
So I wasn't very much impressed when several years
later, she gave out an interview in which she said, "I have
no sort of use for the under-dog. Women never have.
They never 'mother" the under- (Continued on page 100)
— ^^^h
Bette cmd Hubby Harmon Nelson do a little step-
ping out. Cruel gossips hcrve whispered that
every time he buys her a corsage he uses her
money to pay for it. Nothing infuriates Bette
more, she violently declares, because it isn't true.
Bette's young sister, Barbara, v/as the reason
why Bette stayed at one studio even though she
felt it might cost her her entire picture career. At
the time it meant money, however, and money
was badly needed in the Davis household.
THERE WAS considerable commotion in the O'Brien
household. Jane was missing again!
While her mother was frantically searching for th^
strayling in clothes closets, hidden nooks and under the
rear porch steps, the two-year-old Jane was giving her
first dramatic performance in the gloom-laden secrecy of
the attic.
In the audience was her amiable teddy bear, sitting all
attention, her vacuous-eyed rag doll, and the incessantly
approving papier-mache duck, whose hinged neck bobbed
up and down to every vibration. Jane's appreciative au-
dience was drafted into the cast when the dramas of
derring-do demanded it. After her plays, Jane always
had an elaborate tea party for the cast.
You know that child today as Jane Bryan, a girl who,
without professional experience and little training, has in
something less than two years, been certified for screen
stardom.
By classic standards, Jane Bryan is not beautiful. But
she fulfills the modern idea that the first requisite of
beauty is an electric, vital emotionalism mirrored in a
mobile face. Jane "is the American ideal — sweetness and
strength; a dreaming quality combined with an under-
standing of reality, a fine hopefulness, youthful sincerity,
a bubbling, overwhelming aliveness.
A very young nineteen she is, in her blazing enthu-
siasms and sudden descents to despondency.
"I am either frightfully happy or frightfully unhappy,"
she confesses over the luncheon table. "Do you think
I'll ever find a middle ground?" she asks wistfully.
She is as alive, as refreshing as a tumbling brook with
the noon sun shimmering in its folds. There is not one
atom of sophistication in her system.
Her hair is wind swept; her face generously peppered
with little girl freckles ; her mouth is wide and sweet and
parts often in laughter over strong, w^hite, even teeth. Her
clear, straightforward eyes, under their sensible eye-brows,
have humor and seriousness in them.
Neither inherited nor cultivated are her dramatic talents.
They are instinctive with her. (Continued on page 120)
Though she specifies
"no love, please,"
either in her pictures or
her personal life, Jane
goes places and has
fun with Phil Kellogg, a
cutter at her studio.
"Watch her, she's going places," Bette
Davis has said of Jane. Here, Bette
assists with a bit of make-up.
At the age of two, Jane began her dra-
matic career in the secrecy of the attic.
After the show there was always tea.
HOLLYWOOD
HUSBAND
HERE IS THE TRDE LOVE STORY OF 11
STAR YOU ALL KNOW, WHOSE MARRIAGE
MIGHT EASILY GO ON THE ROCKS.
DO YOO KNOW A WAY TO SAVE IT?
When the stai arrived
in New York, she was
surrounded by reporters
while I, her husband,
was left unnoticed in
the background.
The fact that I was watching
didn't embarrass my wife in the
least when she was making a
love scene for a picture.
I'LL CALL myself John Murdock. If I were to tell you
my real name, chances are you wouldn't know it anyway.
Nor are you likely to remember my face. It got into the
papers exactly once, the first time I flew to Hollywood to
visit my famous wife.
My wife's name isn't Mona Carne, but I'll call her that.
You all know her. You've waited for her latest picture
to open in your theatre. You've thrilled to her dark beauty.
You've wept with her, laughed at her madcap escapades.
Perhaps you've envied her, thinking, "She's so radiant.
She must have happiness as well as success. She must
have love!" If you're a bachelor, I'm sure you've also
envied me.
If you have, it's a sorry joke. Because the lovely girl
of the screen is not a very happy woman. Nor am I a
happy man. Our marriage has, through no fault of hers,
through no fault of mine, reached a crisis. We're still
crazy about each other — yet it doesn't seem we can go on.
Does that sound strange? Well, ours is a strange story.
Maybe it's just that a star shouldn't try marriage with a
man outside the picture business. It isn't only that three
thousand miles lie between where her work is, and where
mine ought to be. There's the huge difference in income,
in mode of life.
I'm a physician, you see. My life belongs to science
more wholly than it can ever belong to a loved woman.
If I compromise with my work, the price is self-respect.
It wasn't like this I dreamed my marriage would turn
out ! Through the years of medical school and interneship,
I thought of Mona as the fragile girl next door, ripening
into the wife whom some day I would cherish.
Mona and I have always known each other. Dad was
the Carne's family physician, and often, when she was
still a spindly-legged little girl, I remember her rushing
into his office. "Uncle Murdock, please do something for
my sniffles."
Sometimes I was the one to do the doctoring. I was in
medical school when Mona was fourteen, and the dif-
ference in our ages — eight years — seemed enormous then.
I was, she said, her grown-uppest friend. She'd come to
me with her troubles.
In the course of time her problems became boys. "Dick
Smith tried to kiss me. I shouldn't let him, should I ?"
It was a shock, my little Mona {Continued on page 108)
41
WELL, I'LL tell you," said Jimmy, his sad voice sadder
that! usual, "Daisy said to me this morning, she said,
'You're very hard to cook for. Mister Jimmy,' and that's
what I mean about inconveniences. If I had a wife, now,
she could cope with Daisy.
"Daisy," continued Jimmy, "is our cook."
I was conscious of a pang of disappointment. I had
hoped, not unreasonably, that Daisy would prove to be
a romance, perhaps one of those sirens who ensnare the
feet of the unwary bachelor.
But Jimmy said no. Jimmy, it may lighten the hearts
of sub-deb America to know, is not in love. Jimmy is not
contemplating matrimony. Jimmy is not involved. He is
heartwhole, fancy free and both feet loose, despite the
newspaper rumors linking his name with Rosalind Russell,
the shadow of the altar in the foreground. Jimmy was
polite but firm. He is not, he insists, altar-bound. Still,
there are those about town who insist that the glittering
new sparkler Roz sports on the important finger is a gift
from Jimmy.
"Daisy," continued Jimmy, "cooks for me and for
John Swope and for Josh Logan, in our place in Brent-
wood. She also cleans the house and picks up our clothes
which we always just step out of and leave lay. She
does our laundry, answers our phones, sends our clothes
to the cleaners, makes our beds. In fact, Daisy does
everything for me except act my parts in pictures. She
may be doing that before long.
"The reason Daisy said I was hard to cook for was
because I complained about a salad. Now it was a nice
enough salad ; it is a nice enough salad, I should say, for
if you think I'm not going to keep on getting it, you don't
know Daisy as I know Daisy. It's a very nice salad,
sort of complicated and incognito and all that. But I
don't like to have the same salad every day no matter how
worthwhile it may be. And I told her so. I kind of
yelled, I guess. We all yell at Daisy, all the time, about
everything. And she looked very superior and said that
she had made this Salad for years for the best people and
that the best people write her fan letters about the salad
and ask her for the recipe and all, and that she gets many
more fan letters, she'd like me to know, than she's ever
noticed me getting. And that they all say that their lives are
not worth living since Daisy and her salad have gone away,
and that there is more genuwine emotion in her fan letters,
she'd like me to know, than she's ever noticed in my fan
mail or in the fan mail of anyone like me.
"And when I yelled, 'I still don't like it!' well, it was
then that Daisy said grimly, 'you are very hard to cook
for' and went out, slamming the door behind her and
muttering that she wasn't interested in going into the
matter any further.
SO YOU see," said Jimmy, almost apologetically, "the
inconveniences of being a bachelor are not what you might
expect, not all about girls and dates and all. Most of the
girls I take out, like Roz and Sonja Henie and Ginger
and one or two others are in pictures, too. And they
know how it is if I have to call off a date at the last minute
or ask for a date at the last minute. For the past four
months I haven't had any conveniences or inconveniences
about what to do with my spare time because I've always
known what I'd do, work. I've been doing "Benefits
Forgot" (I consider it the best part I've had since I came
to Hollywood) and I've been doing radio, which is ex-
citing to me and now I'm working in "Vivacious Lady"
with Ginger and, well, I haven't even had time to make
a date, let alone break one. I haven't even had time to
get my hair cut, which you may notice from the kind of
Byronic effect I'm sporting. How d'you think I'd look
with braids? I certainly haven't had time to think of
getting married because you have to have time to fall in
love first, and I tell you, if there's any convenience at all
to being a bachelor it's that you don't have to worry or
think up apologetic speeches when you have to work late
every night for weeks. All I have to do is call Roz or
Ginger or Sonja and say 'Look, I'm working tonight' and
they answer, 'Okay, I know how 'tis' and that's that.
"Yep, the inconveniences of being a bachelor are cer-
tanly manifold, but of these (Continued on page 86)
ii I
There are those who insist
that the sparkler Roz Russell
is wearing came from Jimmy.
Meet Daisy, right, Jimmy's
housekeeper, who finds Mr.
S. to be a difficult lad.
Directors called Roz a
blue-blooded clam and
tried to shy clear of
her. Could you take that?
IT ISN'T fair," you may have told
yourself a dozen times as you
watched Bette Davis on the screen,
holding an audience in breathless
admiration. "I could do that." Or
it may have been tales of Carole
Lombard's fabulous jewels that got
you down, or the assurance of your
best beau that you are cuter than
Simone Simon. Your mirror may,
with entire truth, tell you that you
are just as limpidly beautiful as
Virginia Bruce. Then why are you
lagging behind while these girls
have all the glory and the fun?
Bette's hit pictures follow each
other in dizzy succession. While
the giddy nonsense of "It's Love
I'm After" is still ringing in your
ears, you'll see what a tornado she
is in "Jezebel." Any newcomer,
however brilliant, would have a hard
time catching up with Bette.
Carole Lombard is the box-office
darling of the year. "Nothing
Sacred" and "True Confession"
having cheered multitudes and
strained the box-office cash regis-
ters. And soon you will see her
romping merrily through "Food
For Scandal" with the French chal-
lenger, Fernand Gravet. As if that
weren't enough to fill any girl's life,
she has to go and captivate Clark
Gable, too.
Simone Simon won the admira-
tion of those supposedly hard-
lx)iled fenders, Winchell and Bernie,
while they were making "Love and
Hisses" and the best talents on the
THEY HAVE BEHDTY, BRAINS
Virginia Bruce was rele-
gated to the "beautiful but
dumb" class, but refused to
stay there.
20th Century-Fox lot are engaged in
giving her all the breaks in "Josette."
She doesn't sit around home lonely
of an evening, either.
Virginia Bruce stepped from the
last scene of "Bad Man of Brim-
stone" into marriage to Walter Rubin
who adores her, and Rosalind I^us-
sell, having shown that she could hold
her own even with Myrna Loy in the
cast of "Man Proof," visited the
home folks back East and caused no
end of damage to men's hearts in the
select social circles into which she
was born.
These girls are enjoying success in
pictures and all the prerequisites that
follow in its trail- — deferential friends,
rare jewels and furs, opportunity to
travel and meet interesting people,
boxes at Santa Anita, the love of the
one man of their choice, or of many.
They have all the luck. But do they ?
If you will follow me in a game
of truth that is going to be pretty
uncomfortable some of the time, I am
sure we can find out why these girls
are in the money and the limelight
while you are — just where?
When mama told you to practise
on the piano for a whole hour, did
you kill time pretending to look for
your music, drum aimlessly away on
last week's lesson instead of strug-
gling with today's, and then move
the hands of the clock ahead? When
you finished school did you heave a
sigh of relief that that was over at
last? When you have set aside an
evening for altering a dress, or doing
Carole Lombard spent
months in a hospital, but
learned a valuable lesson
there.
posture exercises, or brushing up on
typing speed tests, do you do it right
then, or do you put it oflF until to-
morrow if the boy next door asks you
to go to the movies ?
DON'T TELL ME; I fear the very
worst. And I am going to be very
cruel and tell you that all the luck
in Hollywood couldn't make you a
success in pictures if you haven't the
stamina to concentrate on your own
development, no matter how many
times the phone rings, or who is de-
termined to get a crowd together for
a party.
When Virginia Bruce went to New
York to be a featured show girl after
playing small parts in several pic-
tures, she could have been the belle
of the night clubs. Invitations poured
in. But Virginia figured it was time
for a turning point in her career, and
she wanted to be ready for it by fill-
ing in gaps in her education. She had
always done well in English and his-
tory in high school back in Fargo,
North Dakota, but started working
in pictures before college courses for
which she had registered in Los
Angeles began. So, instead of going
to parties, she sat in her hotel room
at night and read the plays of Eu-
gene O'Neill, seeking to figure out
why he was such an important in-
fluence in the modern theatre. Then
she delved into theatrical history,
reading all the old plays of Sheridan
and Congreve. The moment she
could afford them, she took music
When the hammer-throwing
brigade began on Simone
Simon, it took courage to
face it. What of yours?
and diction and dancing lessons. With
no one but herself to care if she
practised regularly, either.
Bette Davis helped pay her way
through school by waiting on tables,
and had to do her studying at odd
hours. Later when she was making
the dreary rounds of managers' offices
in New York, friends insisted that
she needed some diversion and begged
her to go out nights. If a worth-
while play was suggested, Bette went,
but if it were just dinner and dancing
and fun, she stayed home. She read
dozens of plays, learned parts that she
never expected to play. She was just
sharpening up her tools for the jobs
she would have some day.
Rosalind Russell has perhaps the
most thorough educational back-
ground of any girl in pictures. She
has travelled a lot, associated with
cultured people all her life, vied with
six lively brothers and sisters in every
competitive sport. Theology was her
major interest at Marymount ; jour-
nalism, chemistry and French were
attacked with gusto when she was at
Barnard. She followed this with
courses in stagecraft and acting and
diction in dramatic school, but she
still figures she has a lot to learn.
She digs into any books that she
thinks will help her today, not to-
morrow.
.Maybe you are hooting now at the
suspicion that I am going to tell you
Simone Simon is the studious type.
Well, she isn't in the ordinary sense,
but she (Continued on page 96)
AND LOCK AND MAYDE YOD HAVE TOO-BDT THEY'RE DIG NAMES WHILE YOU'RE A NODODY!
BOB
SPEAKS
BP
AND TELLS ALL ABOHT
THAT MDCH PUBLICIZED
CHIP ON HIS SHOOLDER
/
BY FRANC DILLON
TALL, STRAIGHT as an arrow, with brown hair and
eyes, Robert Kent is a Httle more than just good-looking.
There is a boyish quality about him that makes him seem
less than his twenty-odd years, and his frankness and
cordial manner contradict his confession that he sometimes
has been guilty of carrying a chip on his shoulder.
There never was an actor who didn't honestly believe
he had something to "grouse" about, and Bob is no excep-
tion. He thinks he made too many movies during the
past twelve months. "People will get tired of my face,"
he fears. He had little time to rest between pictures and
was tired out and just recovering from influenza.
''I couldn't even have the 'flu' in comfort," he com-
plained, "because I was in the middle of a picture and
had to get back to work in order not to hold up produc-
tion." And it was a fact that for a few days they were
virtually holding him up, he was so weak, in order to get
him through the film.
Bob was born Douglas Blackley. His father was a
Scotch-Canadian wall-paper manufacturer, who died when
little Douglas was six years old. In order to support her
son, Mrs. Blackley secured a secretarial position. She
put Douglas in the best schools, but he never stayed long
in any one. The curriculum demanded too much history
and algebra, and didn't devote enough time to drama to
suit Douglas, who, at an early age, showed a decided
preference for that subject ; and so it happened that some-
times he was expelled, and other times he got the idea of
leaving first — and did.
"Douglas never wanted to do things exactly the way he
was told," his mother says, which may account for the
fact that he often says "no" when he might say "yes," if
he didn't think he was being pushed around. As one
friend of his describes it, "he puts up his elbow to ward
off a blow before th^ other {Continued on page 70)
Robert Kent is serving his
movie money to go into
the advertising business.
The Kents were married
twenty-four hours after
Astrid Allwyn sold "Yes."
a
NOT SO DUMB
BY MARTHA KERR
BEAOTIFDL MARY KNOWS THE ANSWERS WHEN IT
COMES TO LOOKING OOT FOR LITTLE CARLISLE
The producers tell the Johnny Downs is Mary's
directors, but Mary tells beau these days. They're
the producers — and gets as inseparable as ham
away with it. and eggs.
SHE LOOKS like a mischievous angel," said Carl
Laemmle, Jr., when he saw Mary Carlisle lunching with
her uncle.
"I'll call someone else to talk money with you," said
William Le Baron of Paramount. "You'll be too tough
for me to handle."
Somewhere between those two statements lies the rea-
son for Mary Carlisle, movie actress. She got in, like so
many others, on the strength of her pretty face. Unlike
so many others, she stayed in, on the strength of more
than prettiness.
Mary got her first break, but followed it up with no
smashing hit to establish her snugly in the minds of pro-
ducers and fans. No one was interested in furthering
her career, not even an agent. She was backed only by
herself and her own good sense. And it's the latter
commodity, even more than her blonde beauty, which
has lifted her from the also-ran class to a frontline place
among Paramount's comers.
A little over five feet, with cornflower eyes, a beguiling
smile and hair the color of ripe wheat, she looks like the
kind of girl who has only to lift her lashes in a certain
way, and the world is hers. Physically, Mary Carlisle
might pose as a princess, but she's a child of the twentieth
century and not of a fairytale. She does lift her lashes —
and her eyes are not soft with appeal, but bright with
purpose. She does smile like an innocent, but the corners
of her mouth curve in mockery of her own demureness.
She is a beautiful blue-eyed blonde, but she isn't dumb.
"Maybe I was when I started," she said, then, lips still
parted, brought her small fist thumping down on the
table. "No!" Though her eyes were ahght with laughter,
her mouth was firm. "I think it's just as silly to run
yourself down as to brag. If I'd been dumb then, I'd
probably still be dumb. But I was fourteen and going
to school and having fun and not giving much of a darn
about anything else."
That was when Carl Laemmle saw her and sent his
secretary over to summon her to his office. "Shall I go?"
she breathed to her mother. "Of course, go." She
appeared on the threshold, a "mischievous angel" of four-
teen, with most of the mischief wiped from her face by
awe. Conrad Veidt was there and they were all talking
German, and she didn't understand a word they said. But
it was in English that Laemmle finally told her he wanted
to make a test of her with Veidt.
So what did she do ? Spoiled her chances, as any three
smart girls of her age might have done. "I tried to turn
myself into a glamor girl, and made a fool of myself
instead." She bought herself a pair of high-heeled shoes
and a dress ten years too old for her. She had her nails
stained a shrieking red and her softly waved hair
shellacked into a permanent. She presented herself,
teetering as if on stilts, tripping over a skirt she couldn't
manage, on her face a smile of haughty unconcern, as
becomes a movie star. "They were kind enough not to
laugh outright. Still, I'd rather draw a quick curtain
over the rest."
BUT SHE'D tasted blood, and what started as an
accident developed into a firm resolve. At sixteen she
put childish things behind her and went to an uncle who
worked at Metro. "All my uncles seem to have worked
at studios. But that doesn't {Continued on page 68)
47
Andrea Leeds' lovely lashes aren't a happy
accident. She made 'em that way!
Luise Rainer takes time out to fix up her
mouth. You must, too. It's simple!
TRICKS OF THE BEAUTY GAME
COMES THIS month, ladies, a mis-
cellaneous bunch of beauty data
which doesn't sit so hot under any
particular title. However, the above
label will do as well as any to hold
together this issue's collection of do's
and don'ts, stunts, tips and trick plays
in the beauty game. Dear me, suz,
I have so much to tell you, I dunno
exactly where to start. I guess I'll
pitch right into figures — that's always
a good beginning.
A friend of mine just lost an un-
necessary ten pounds in a month by
going without lunch every day. She's
a working girl, and she said that she
had been in the habit of going out to
lunch with other girls in the office,
and just because they ate hearty
lunches, she ate, too. Often ate much
more than she wanted. However, she
said she did eat a hearty breakfast
and a bang-up' dinner. Breakfast al-
ways consisted of fruit, two eggs,
toast and cofiFee.
48
I know that when I was an office
slave, I used to consume what
amounted to two dinners every day,
just because it was pleasant to eat
and chat with a co-worker. Since
I've been slaving at home, I find that
a bowl of soup or a piece of fruit is
all I require. This advice, of course,
is only for overweights. Under-
weights, go right on eating substan-
tial lunches.
And speaking of underweights, I
was wondering if this advice, which
doctors give for children who are
picky about their food, might not
work for thin people in general.
That's the advice about "miniature
meals." You thin people so often
have capricious appetites, maybe this
would work. Have a very little to eat
— very often. You might actually
measure the quantities you serve your-
self, keep a chart on your progress,
and blow yourself to something ele-
gant when you've achieved a woman-
size dinner. Start out with two teas-
poons of cereal for breakfast, and try
to work up to three tablespoons. Take
a quarter of a can of cream soup for
lunch, and work up to a whole can.
And so on.
Then, too, there are the thin folks
who eat like lumberjacks and, as
they so often tell their friends, "don't
gain an ounce, my dear!" Did you
ever try lying down on the sofa with
a hot water bottle on your stomach
immediately after a meal? You feel
rather silly, but it's a helpful pound-
age-gainer.
To return to overweights — married
overweights who do their own house-
work. It has been said time and
again that housework won't reduce
you, but, by golly, I lost twelve
p>ounds in about six weeks, and I
can't think what else did it. I was
pinched for time, and I know that
millions of other housefraus are
pinched for time, too — so much so
that they feel they can't spare twenty
minutes for formal exercise, nor do they
feel like coping with a special diet for them-
selves when they have the whole bloomin'
family to cook for. Perhaps it's a make-
shift way of doing things, but who cares,
so long as you get results.
When I began to notice that the tweed
number was getting slack around waist
and hips, I decided to make a real exercise
routine out of the bed-making and so on.
How ? Well, first place, no time out for a
cigarette, a phone call, or an additional
cup of coffee until your work is done.
Second place, consciously hold your
stomach muscles as tense as you can the
whole time. Third place, keep your knees
stiff every time you bend over — and the
feet shouldn't be more than eight inches
apart either. When you reach up to put
things on shelves, take a second to reach for
a point just a bit too high for you to touch
— that's fine for slimming the waist.
A great percentage of the questions
beauty scriveners {Continued on page 94)
/
>
BY MHY MARSHALL
ATTENTION, LADEEZ! HERE ARE
SOME STAR STUNTS, TIPS AND
TRICK PLAYS IN THAT POPULAR
GAME CALLED BEING BEAUTIFDL
49
While Gary Grant was
making "Topper," Patsy
visited the set. It was
Laugh Day for the cast!
THE WAITER brought a bottle
of chili savice and set it down,
next to her dish of scrambled eggs.
"I could marry you for that,"
said Patsy Kelly.
An hour later, upon being in-
troduced, a reporter, from the
dignified Ne%v York Times, de-
clared she was his favorite
comedienne.
"I could marry you for that,"
repeated Miss Kelly.
And when I asked whether,
now that she is in the big money
bracket, she intends building a
California house and swimming
pool, she exclaimed, '."I hayen't
that much conceit!"
She means it.
Since she commenced working,
at sixteen. Patsy Kelly has never
been without a job, nor has she
looked for one. Mentally knock-
ing wood, she says that, up-to-
<late, hers has been a charmed ex-
istence. An Irish disposition,
naturally superstitious, makes her
positive this good luck will end.
Should such an unfortunate day
arrive, it will not catch Miss
Kelly unawares.
she said, "I've just signed a
new long-term contract with Hal
Roach. But what's a Hollywood
contract? I can get fired, then
At nine, Patsy Kelly
proved to be the most
promising kid in Jack
Blue's Dancing School.
what? Suppose my house were
only half built? I'd have to marry
the contractor to pay for it!"
That gives you a rough idea.
For a word portrait of Patsy
Kelly must be rough, drawn in
thick crayon-like sentences, a
caricature outline. She is a live
cartoon, definitely slapstick. A
dizzy wave of one hand, a round-
shouldered lunge, a devastating
remark, and she turns anybody's
preconceived notion of a screen
star into riotous burlesque.
The representative from her
studio, sent to preserve caution,
sat, stunned into submission. What
good was his gentle negative nod,
his frantic, pleading eyes? What
good against Miss Kelly's corned-
beef-and-cabbage honesty ?
"I'm not going to be caught of¥
guard," she announced. "Only
last night I ate spaghetti in the
company of a real princess. I
nearly died until I saw she was
having a hard time balancing it,
too." Came a Kelly after-thought.
"Remind me, tomorrow I got to
get etiquette."
Having finished her eggs, she
strolled across the room. She wore
high-heeled pumps. They looked
odd accompanied by bare legs.
She had ( Contivued on page 106)
PATSY'S IS A CHARMED LIFE WITH LHCK "TOO GOOD
TO LAST-DDI SHE'S READY FOR WHATEVER COMES
50
THE WINNAH!
LDCRY PHYLLIS WELCH IS
LEAD FOR HAROLD LLOYD
Phyllis is set for "Professor, Be-
ware!" She went through a rigid
test before being accepted. 1. Phil
undergoes scrutiny of Cameraman
Archie Stout. 2. Choosing hat for
test. 3. Being fitted. 4. Ready for
the camera. 5. The "take" is
recorded. 6. With Lloyd on loca-
tion, having triumphed.
This may look com-
plicated but if you
know your Big Apple
as Jon Hall, Alexander
Darcy and Pat Wilder
do, it's a cinch!
Patricia Wilder and
Alexander Darcy ex-
hibit another varia-
tion, which takes
plenty of pep.
Not exactly a step to :
try in public, but it'sJ
fun, Wendy Barrio
and Alexander Darcy i
claim. ^
PLAYING
PROBABLY more money changes hands during the racing
season at Santa Anita than on the stock market during a sim-
ilar period of time. From Christmas day to Easter, Santa
Anita stays open and everybody in Hollywood and points
East suddenly goes into the matter of horse racing very
thoroughly.
The track itself, built flush up against the Pasadena Moun-
tams, IS probably one of the most beautiful in the world.
But it is more than beautiful ... it has glamor. For it is
there that the movie stars gather in droves, whether they
know anything about horses or not. Carole Lombard and
Claudette Colbert and Myrna Loy and Bette Davis turn
. out in their smartest creations. They are much more par-
l ticular about what they wear at Santa Anita than at the
1 Troc or any other night spot in Hollywood. For Santa
■ Anita is also the gathering place of Society with a capital
M S. Whitneys and Vanderbilts and Hitchcocks pop out of
■I every nook and corner, since they all have stables and
since their horses all race.
The movie stars own horses, too. Bing Crosby has
quite a string, though they are known as losers, and
Bob Taylor and Barbara Stanwyck have their own
stables, too. So has Clark Gable.
Playing the horses has become Number 1 sport in
Hollywood. There seems to be something in the
atmosphere that makes laying a two-dollar place
parlay imperative. Even school children catch
the gambling spirit during the racing season
and some of the picture colony's children
make ten dollar bets more calmly than you
would split a two dollar show ticket on a
one to ten shot.
Among the stars, Al Jolson and Ben
Bernie are the hteaviest bettors —
and the most nonchalant losers.
Al has been known to place a
seventy-five thousand dol-
lar bet and turn his
back on the race
to discuss the
■ weather
Bing Crosby, whose horses never
come in first, has, what he con-
siders a system for winning. First
pick a good horse, not one of his.
Always wear a smile" to throw
off bad luck. Always look wor-
ried when asked about your
horse's chances. Never shut your
eyes at the finish.
54
r
f
THE BOSSES!
with an acquaintance. And Ben Bernie drops five thousand
dollars on a loser without flickering an eyelash. As a matter
of fact, many a wailing secretary in Hollywood couldn't get
a five dollar raise if her widowed mother were starving,
but her boss probably loses many times her salary every day
in the week at Santa Anita.
This particular track however, is considered to be one of
the squarest tracks in America. . Of course, there is un-
doubtedly a small coefficient of dishonesty. Horses are oc-
casionally found doped, odds on horses are pulled, awaiting
more favorable odds and owners don't always try, but gen-
erally speaking, almost every race is really a true race.
Chiselers find it hard to make the long trek to California
which accounts for the lack of the usual racetrack touts
found everywhere else in the country.
Hollywood women are pretty passionate racing en-
thusiasts but they are. by instinct, a lot more conservative
than their husbands or their best beaux. Connie and
Joan Bennett are the most sporting of the lot and will
bet a fifty dollar bill when something looks good, but
the average glamor girl is content with a two or five
dollar ticket. Neither Mae West nor Greta Garbo
have ever been known to appear at the track and
neither of them play the horses. Aside from these
two, however, every big name in Hollywood
shows up at one time or another at Santa Anita.
Telephone bills ride sky high while the sea-
son is in full swing. Employees, from writers
down, who can't get to the track, spend half
their time at the phone calling for results.
Bookies roam the various lots and find
plenty of eager prospects, despite the
efforts that are made to keep them
outside the gates. In fact, when
the horses come to town, every
body who is anybody iq^
Holl)rwood. leaves town.
And it would seem
that all roads lead
to Santa
Anita .
TO LOSE
George Raft has different ideas.
He tips on how to lose every time.
Pick any horse. Always look
happy while they're waiting at
the post. Always watch some
other horse after the start, thus
saving the agony of watching
your own. When it's over, keep
your chin up.
55
Nothing like a ranch to take yoxir mind off
your work, Hugh Herbert believes. Of course,
it's work, running a ranch, as you con see.
GETTING AWAY
If a man's best friend is his dog, Hugh believes
in making it go double. Here he is surrounded
by friends.
An over-sized lily pond in the living room is just the
thing for ranches. And it's deep enough for prac-
tical purposes when imwelcome guests arrive.
FROM IT ALL
If you find you suddenly need a manicure, why
wear yourself out with a file is what Hugh would
like to know. There's the garden shears!
Can Hughie sing? Well, you
should hear him! Even the coy-
otes out around his ranch join in
the chorus when he feels
attack of melody coming
an
on.
Monarch of all he surveys! With
scenery like this, is it any won-
der that Hugh likes to spend all
his free time on the ranch? Such
inspiration!
There's so much to do around
the place, complains Hugh, that
he has to write it all down or
he'll forget. What about the
chickens? Have they been fed?
Hugh grabs himself a cat. nap.
This business of relaxing is too
strenuous for him. Looks like he
should hie himself back to the
studio to rest up.
TAKES TO WORK AND ^^^^^
Robert Taylor claims he's a "slow study" so he's taking no ' ^Ui
_ _ . Mm^mm .M « MM V w m •% V 1.
chances with the script of "Three Comrades." In it he has a he-
man role with opportunity to prove himself an actor rather than
just a handsome man. If that recent unfair "Beautiful Bob"
publicity has done this it proves even a knock can give a boost.
With troupers like Bob Young emd Margaret Sullavan in "Three
Comrades," Bob must be on his toes. Weeks before production,
he rehearsed on the quiet and during the actual shooting was on
the sidelines whenever he wasn't in a scene in order to learn
any tricks of the trade that he may have missed.
CAMERAMAN
r^HES THEM UNA
Danielle Darrieux soaks up some California
sunshine while waiting for her first American
picture, "The Rage of Paris." This 21-year-
old was not only the rage of Paris but the
entire continent when J. Cheever Cowdin,
Universal executive, signed her. while touring
Europe, to a contract guaranteeing her a mil-
lion dollars. American audiences took her
to their hearts in "Mayerling," the French
picture with Charles Boyer, which won the
critics' award. Her husband, Henri Decoin,
is a noted writer and director and their ro-
mance started on the set.
/I
— St'**
BY LEO T 0 W N S E N D
Fred MacMurray has been in many a tough spot in pictures,
but he never experienced anything like the awful hour he spent on
the Paramount lot the other day. He was seen with a Pomeranian !
Tried to explain it away by saying he was watching it for a friend,
but there was no conviction in his voice. Turned out he had
bought it himself, as a gift to Mrs. MacM., who likes Pomeranians.
Proud Papa
Reporters have finallr discovered a wonr to get the usually reticent
Gary Cooper to talk. All you hove lo do is ask after his daughter.
Gary, who seldom discusses women, can tell you the weight, height
and disposition of this young lady, as well as furnish interesting
highlights of her brief but apparently eventful life. The young lady's
name, in cose you don't know, is Veronica Maria. She's named
after her mother, who was Veronica Balfe before she changed her
name to Sandra Shaw for picture purposes.
64
A literal minded fan recently wrote to ask if "True Confession"
were really the true life story of Carole Lombard. The answer is
No. Miss Lombard, unlike Emile Zola and the U. S. Navy, has
never had her personal history immortalized on celluloid. How-
ever, it's not a bad idea. You'd have a very swell comedy drama,
and just look at the cast. Very few gals have Bill Powell and
Ciaric Gable for leading men.
Lombard Preferred
Speaking of Miss L. reminds us of the writer who was being inter-
viewed for a success story. "If you had your choice," asked the
interviewer, "where would you prefer to live?" Said the guy; "At
Carole Lombard's house."
Sylvia Sidney is one young lady who likes Hollywood only for
practical purposes. She likes the work, and the cash involved, and
she thinks it's a nice place to visit, but she prefers to live in the
East. She prefers it so much that she has just bought a 13-room
farmhouse in New Jersey, near the Lindbergh estate, and the
minute she finishes a picture she rushes back to the farm.
NEWS
;::.:.v --^^
Meet Mr. Shane
Twenty years ago neither Wayne Morris nor "Bei Mir Bist Du
Schoen" imagined that one day their careers would merge. But when
the modernized chant became an overnight hit Warners bought it
for "Love, Honor and Behave/' and in the picture Priscilla Lane sings
it to Morris. Incidentally, it's the toughest song title of all time, ac-
cording to music publishers, who get orders from dealers with weird
conceptions of its name. Most popular right now are "My Mere Bits
of Shame" and "Buy a Beer. Mr. Shane." Mr. Shane, meet Mr.
Morris.
Inveterate followers — and even a few of the veterate ones — of the
doings of Shirley Temple will be happy to know that she is now
a cop. The Los Angeles chief of police managed somehow to take
a moment off from his relentless drive on local vice to confer an
honorary badge on little Shirley. It's a miniature of the regula-
tion badge, and it has a diamond in the center. So Shirley is now
a Junior Policewoman, and the chief of police has gone back to
work. Incidentally, little Miss Temple is as proud of her new badge
as she is over being such an important movie star, believe if or not !
Love's Triumph
Phyllis Brooks had planned for weeks on a vacation trip to New
York with Claire Trevor. Day before they were to leave she dis-
covered that Cary Grant's birthday would arrive during the time
she planned to be away. Love's triumph was New York's loss, or
something, and Phyllis cancelled her trip to stay home and welcome
in a new milestone with Mr. G.
While she was in Chicago visiting her hfishand recently, Dorothy
Lamour tossed a luncheon party for a group of elevator operators
from Marshall Field's. Reason is that Dorothy once ran an elevator
at the department store herself, before she got a job singing with
Herbie Kay's orchestra. Dorothy reports she liked Chicago im-
mensely. Had a nice visit with her husband, and was pleased to
note that nobody in Chicago goes about in a sarong.
Phrase Twister
Greatest phrase twister in Hollywood is Director Michael Curtix,
whose eccentricities of speech make Sam Goldwyn sound like an
65
Oxford professor in comparison. Almost every-
one has heard his famous crack at a prop boy
who brought him on object he didn't want. "If
I have to send someone so dumb/' said Mike.
'1 go myself." And for a scene in a recent pic-
ture he wanted a horse without a rider. So he
ordered "an empty horse." And a few weeks
ago a visitor on the "Robin Hood" set was in-
troduced to Curtiz by Errol Flynn. The victor
arose from his chair to shake hands. "Sit
down," said Mike, "Don't relax."
In a scene for "Jezebel," Eddie Anderson
is supposed to row Bette Davis through a
swamp. Before they shot the scene, Bette
looked doubtfully at the aged rowboat and
turned to Anderson. "Can you row a boat?"
she asked him. "Well," said Anderson, "I
played 'Noah' in 'The Green Pastures'."
Debonaire as ever, Doug Fairbanks
steps out with the Fred Astaires.
We think Freddie Bartholomew and
OUvia De Havilland look alike.
Do you?
Pat Paterson gets practice talking
French with Charles Boyer and
Danielle Darrieux.
No Blind Dates
YHiile on loccrtion for "Test Pilot" Spencer
Tracy was approached by a young lady who
wanted his autograph. Spence was all set to
sign when he took a second glance at the piece
of paper the gal handed him. It read: "I'll
meet you at nine." Mr. T., who doesn't meet
strange women at nine, refused to sign. The
girl was pretty mad about the whole thing and
flounced off in a huff muttering things while
Spencer could only shrug and feel uncomfort-
able.
This should be a lesson- to young gals who
are silly rather than sentimental. Speaking of
this famous star — as almost everyone is these
days: It must be love at Spencer Tracy's house.
At Santa Anita a few days ago. Mrs. T. was
66
busily picking Spencer's horses for
him.
This could happen only in Holly-
wood. Bemiy Baker's agent, who was
once the fiance of Baker's wife, is
negotiating with director Bill Well-
man for a part in "Men With Wings."
Wellman was once Mrs. Baker's hus-
band. ,
Alligators Before Stars
On the set of "Her Jungle Love" at
Paramoimt. they have a large pool of
-water filled with alligators. Dorothy
Lamour. Roy ^£lland and several Mal-
ayan extras were drifting on a raft in
the pool one day when some visitors
dropped in. They spotted a couple of
swarthy men in swimming trunks on
the banks and asked the director in
scared whispers if they were there to
prevent' fatalities should the raft cap-
size. "Oh, no." said the director, "in
case the raft tips it's the job ' of those
men to watch the alligators. They're
very valuable." Needless to say, the
visitors were left quite speechless.
Carole Lombard arrived at the
commissary at M-G-M the other day
to lunch with Clark Gable. She was
wearing an unbecoming, if not an
atrocious, hat. "We've just had a
fight," she explained, "and I always
wear this hat until we make up."
They've Parted
Gene Markey and Simone Simon
have come to the parting of the ways
— and Gene's way may lead to New
York where Gloria Swanson is going to
make her home. For the time being
David Niven is at the receiving end of
the Simone smiles.
Deanna Durbin headed for New
York right after "Mad About Music"
was in the can. Eddie Cantor was
taking his radio troupe East and we
thought perhaps that was the reason
for Deanna's trip. But nothing like
it! "That's just incidental, though
very nice," said Deanna. "I'd like to
see what the women in New York are
wearing before I do my shopping."
(Continued on page 91)
MODERN SCREEN
this new Cream with
Skin-lit
amin
''A cleansing
cream that also
nourishes the
skin is a great
achievement^^
Mrs. Arthur Richardson
A
NEW KIND of cream is bringing
more direct help to women's skin. It
is bringing to their aid the vitamin
which helps the body to build new skin
tissue — the important "skin-vitamin."
Within recent years doctors have learned
that one of the vitamins has a special rela-
tion to skin health. When there is not
enough of this "skin-vitamin" in the diet,
the skin may suffer, become undernour-
ished, rough, dry, old looking!
Essential to Skin Health
Pond's tested this "skin-vitamin" in Pond's
Creams during more than 3 years. In ani-
mal tests, the skin became rough, old look-
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But when Pond's Cold Cream containing
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smooth, supple again — in only 3 weeks!
Now women everywhere are enjoying the
benefits of Pond's new "skin-vitamin" Cold
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looking finer, that skin is smoother; best of
Granddaughter of the late C. OLIVER ISELIN
"I am delighted with the new Pond's Cold Cream. Now that we
can have the benefits of the 'skin-vitamin' in Pond's Cold Cream,
I wonder how women were ever satisfied to use cleansing creams
that did not also nourish!"
all, that the use of this cream gives a live-
'lier, more glowing look to their skin!
Use Pond's new "skin- vitamin" Cold
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morning and during the day. Whenever
you get a chance, leave a little on. This new
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Same jars, same labels, same price
Now every jar of Pond's Cold Cream you buy
contains this new cream with "skin-vitamin"
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TEST IT IN
9 TREATMENTS
(above) Entertaining in the white draw-
ing room of her New York apartment.
(center) Mrs. Richardson greeting
friends after the opera.
Pond's, Dept. 9MS-CR, Clinton, Conn.
HiihIi Hperial tube of Pond'e "ekin-vitamin" Cold
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shades <»f Pond's Face Powder. 1 enclose lOf to cover
I>ostage and packing.
NaT
Tune in on "THOSE WE lOVE," Pond'i Program, Tuotdoyi, 8:00 P. M., E.S.T., N.B.C. Blue Network
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67
MODERN SCREEN
To help Prevent
COIDS
and Bad Breath
Use
PEPSODENT
ANTISEPTIC
. , .tUe. 10-Beco*id
In Germ-Killing
Power. . . One bottle
Pepsodent Antiseptic
equals three bottles of
ordinary kinds
Even when diluted with 2 parts
water, still kills germs in sec-
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MAKES YOUR MONEY GO
3 TIMES AS FARi
NOT SO DUMB
(Coiifiiiiied from page 45)
make me a studio relative. "Because," she
pointed out, "they didn't have influence
enough to get me jobs."
"I'm going into pictures," she told this
-uncle. "What can you do for me?"
"I can introduce you to the casting direc-
tor. After that you're on your own."
"Would you work on a weekly basis ?"
the casting director asked.
"I'd work on any basis, so long as I can
work."
She was sent to the studio dramatic
school, and before long the' coach presented
her and Bob Young as the leads in
one of his plays. Mayer and Thalberg were
impressed with the work of both young
people and put them under contract.
The seventeen-year-old might have been
excused at this point for regarding the
world as her oyster. "I was gay and I did
have fun, but not nearly so much as I got
the name for. More than anything else I
wanted to work, and I couldn't understand
why they put me into so few pictures."
Again she put into practice her theory
that what you wanted you had to go after.
She went to a woman high in authority.
"Why don't they let me work more ?" she
asked bluntly.
"Well, I don't know, Mary. Maybe they
think you're a little flighty. Maybe if you
settled down and seemed more serious — "
"Settle down, huh ?" she thought grimly.
"All right, I'll settle." She subdued her
laughter and practised a Garbo smile. She
walked sedately. Instead of waving and
calling "hello" across the commissary, she
bowed with dignity and murmured "how
d'you do." Much good it did her. One day
she was summoned to the front office.
"What's wrong with you, Mary? We hear
you're going high hat."
She broke into a wail. "Well, tell me
what you want me to do and I'll do it."
"Want you to do?- Nothing. Just don't
go snooty on us."
"That was when I learned my lesson,"
said Mary. "I'd pretended to be a glamour
girl and flopped. I'd pretended to be a grand
lady and flopped. Right then and there I
made up my mind. 'You're going to be just
your own no-make-believe self, Mary Car-
lisle, and if you can't make a go of yourself,
you'll quit.' "
MARY'S agent had a good many clients,
of whom she was not the most im-
portant. Option time came along, and she
was due for a salary raise. The agent told
her that the option would be taken up, but
without a raise.
"Go in and fight for it," said Mary.
"Well, these things have to be handled
carefully."
They were handled so carefully that noth-
ing happened.
"All right," thought angel-face Mary. "If
he can't do it for me, I'll do it for myself."
She went to headquarters. "We'd like to
keep you, Mary, at the same salary."
"Then I don't want to stay," she told them
flatly. "If you're not interested enough to
give me my raise, then you're not interested
enough."
Nor was she bluffing. She knows how to
face facts. "Of course I'd have been terribly
unhappy if they'd let me go. But also 1
knew there was no sense in staying unless
they believed in me. And the proof would
be, raise or no raise."
It proved to be raise, and from that day
to this she's been her own agent.
Not long ago she had a crucial decision
to make. Two companies were interested in
signing her, one of them Paramount. The
other offered more money. As against the
larger salary she weighed these facts in the
iDalance: she'd already made a favorable
impression at Paramount. She liked the
people she'd worked with and the atmos-
phere of the studio; at this stage in her
career, money was less important than
building solidly for the future, and she felt
that her best chance lay with the reorgan-
ized Paramount under Zukor.
But she didn't fling herself headlong into
their arms, crying : "Take me."
"I'll be glad to sign on certain terms,"
she told William Le Baron.
That was when he threw up his hands
and yelled for somebody who could handle
Mary.
Mary just smiled. "I've agreed to less
money than I could have got elsewhere. In
return, I want the studio to take care of
my fan mail, to provide my shoes and stock-
ings, and transportation for my mother
when we go on location. Also I want a
three months' holiday before the contract
starts. I'm going to Europe. I won't hag-
gle about any of those things. If you want
me on those terms, all right. If not — "
The terms were agreed on, and she went
abroad. When I tell you that she went pri-
marily to see Europe's great paintings,
you'll probably get that pained look and
say, "Oh sure." To be honest, I felt the
same impulse. I, too, have accepted the
cliche that to actresses, and especially little
blonde ones, pictures mean moving pictures
and nothing else. Mary Carlisle shamed me
out of my smugness.
SHE had another reason for taking her
trip when she did. "I was just getting
over a big romance," she admitted, "and I
thought I'd get over it faster away from
home. I did, too. Now it doesn't hurt any
more, and we're the best of friends. I mean
that, you know," she said earnestly. "Please
don't think it's just Hollywood bunk. If
two people make a mistake, why should
they suddenly stop speaking and stick their
noses in the air and hate each other? That's
good enough for children. Grownuns are
supposed to be sane. I don't hate this boy.
I like him. And why should I stop being his
friend just because once I thought we'd be
more than friends? It doesn't make sense."
She flashed one of those smiles that must
have been Laemmle's reason for "mischiev-
ous angel." "How I feel about it is rather
mixed. I think it's silly to say you won't
fall in love. I see a lot of Johnny Downs
now. First, you can't help it, and second —
gosh ! — why should you hide away from
happiness ?
"Just the same, I'd like not to fall in love
or marry for a while yet, since I'm young
and haven't done much in pictures."
Nothing like an exhilarating dip
to give Fred MacMurray that
zip for which he's famous.
68
MODERN SCREEN
SPONSORS
FOR SPRING
"Wear it with your gay prints,
with purple, dusty blue, pink,
brown and yellow . . ."
WITH an unerring eye for the
chic, the wearable — SchiaparelH,
famous Paris dressmaker, sponsors the
new Cutex TULIP, to wear with her
newest and loveHest Spring clothes.
The fresh, glowing color of full-open
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new Cutex TULIP.
Vibrant . . . Keyed to Springtime
"You'll adore this tender, gay TULIP
shade with your new bright prints,"
Schiaparelli says. "It will be perfect
with this season's high-fashion purples,
with dusty blue, with the new pinks,
and with both brown and yellow."
So — all of you — wear lovely, glow-
ing Cutex TULIP — sponsored by Schia-
parelli—and be in tune with the gay
new Springtime world!
Cutex TULIP, hke all Cutex shades,
goes on like a dream. And stays on —
without fading or peeling. Be sure to see
all the chic' new Spring, 1938 Cutex
shades. Only 35^ a bottle.
Northara Warren, New York, Montreal, London, Paris
HEATHER: A deep, smoky rose,
with a hint of purple in it, for
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LAUREL: Ashes of roses, a sub-
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CLOVER: Deep, luscious red —
TRY THESE 6 EXCITING NEW CUTEX SHADES
Stunning with black, pink,
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ROBIN RED: True red, sub-
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TULIP: A fresh, glowing red.
dued in intensity. It really
goes with everything.
Also Rose, Old Rose, Rust, Nat-
ural, Colorless and Burgundy.
NORTHAM WAKKEN CORPORATION, Dept. 8-M-+,
191 Hudson .Street, New York, N. Y.
(In Canada, P. O. Box 2.-i20, Montreal)
I enclose 15p to help cover postafie and packing for Cutex
Set, including one shade of Cutex Liquid Polish. (Check
one shade desired.)
Clover □ Tulip Q Thistle □ Heather □ Laurel □
Name-
Addres
Cilv
69
MODERN SCREEN
Amazing New Lotion Discovery
startles women with it's beautifying
results. And here's the reason — this
new lotion contains milk-oils that
scientists declare are very similar to
the natural oils of the human skin.
When a shortage of these natural oils
leaves the hands red, rough and feel-
ing like burlap MILK-OILS help re-
store their satin smoothness quickly!
Try this revolutionary, new type lotion
just once... you'll learn the scientific
secret of lovely hands. Ask for Duart
Oil-of-Milk Lotion at Department,
Drug or 10 cent stores. 25c & 5 Oc sizes.
DUART ro'hUH <^
Duart, 785 Market St., San Francisco, Calif.
Enclosed is 10c. Please send me a bottle of
Duart Oil-of-Milk Lotion.
Name ,
Address-
City^
.State_
-96
Guaranteed to contain pure Oils extracted from
rich dairy milk, with other lotion ingredients.
r iT'S YOUn UOB
AS WELL AS MiNE
TO KEEP TEETH
AND GUMS
HEALTHY
Dental service is impor-
tant. Dental cooperation
i / at home is equally vital!
i Regular massage with
Forhan's stimulates gums, retards for-
mation of tartar, makes teeth gleam ! For
generous trial tube send 10^ to Forhan's,
Department 419, New Brunswick, N. J.
Forhan's Bil
CLEANS TEETH • AIDS GUMS
BOB SPEARS DP
{Continued from page 44)
fellow has thought of hitting him."
"If I happened to be on the street where
there was a fight, I'd always find myself
left with the fighting to do," he laughed.
"Maybe I didn't know what the fight was
about, but it was always little Douglas who
did it and got the blame for starting it. One
day I was innocently roped into a row and
it ended with a cop giving me a broken
nose. That cured me."
When he was sixteen, he decided it was
time for him to assume the burdens of the
family, so he left school permanently and
got himself a job as messenger boy for
the Seaboard National Bank.
"And that was one time when honesty
wasn't the best policy," he told me. "I
lost that job because I told the truth."
Messeng^er boys were required to wear
their wallets strapped to their shoulders,
but Bob's was always slipping off, so he
carried it. One day he lost it, along with
checks, money, and other valuables in it.
The wallet was recovered. It was the boy's
first offense, and he would undoubtedly have
been excused with a reprimand if he had
not admitted that he was carrying it in his
hand. As an example, he was fired. Next
he was riding instructor at Mt. Vernon,
New York, and after that he signed aboard
several boats of the Grace Line, shipping
as an ablebodied seaman. He made the trip
between New York and. California several
times. Toiling twenty hours a day didn't
seem right, however, so he quit the sea
when he docked in New York at the end
of one trip.
A friend suggested that he pose as a
model until he could get some other job.
Posing was always fallen back on by thes-
pians who were "resting." Finally he joined
a little theatre group and while connected
with it, began to make the rounds of the
casting offices. His first professional role
was in "Criminal Code".
In rapid succession he played in one
stock company after another. While ap-
pearing with Cecilia Loftus at Bar Harbor,
Maine, a motion picture talent scout per-
suaded him to make a screen test. As a
result Bob came to Hollywood with a
Paramount contract. Then he learned that
having a contract didn't necessarily mean
that he was an actor. Although he ap-
peared in several pictures, it was only
in minor roles. Finally he asked for a
release from his contract and went into a
stage play with May Robson.
While he was appearing in this play,
Darryl Zanuck saw him and offered him a
contract with Twentieth Century-Fox. Up
to this time he had been known as Douglas
Blackley, but his new employers planned
to re-christen him Robert Kent.
Bob appreciates the opportunities the
past year has offered. He appreciates the
chance to make mone^'. But when he is
through in pictures he wants to go into
the advertising business. He doesn't want
ever to be a character actor, he says firmly.
"Of course," lie said seriously, "no one
can say what he is or isn't going to do.
That would be silly. But advertising is
what I would like to do when I'm not work-
ing in pictures anymore."
THE Kents are living temporarily in the
little white house that his wife, Astrid
Allwyn, occupied before their marriage.
"And Doug pays the rent now," she in-
formed me. "This house is too small for
two people," she continued. "It was just
right for me, but look." and she opened a
drawer in the huge, white dressing table
which she had made and which occupies
one whole side of the room, "I've had to
give him half the space."
"Well, there's your horse," Bob laughed,
pointing to a little horse carved out of wood.
"And there's yours," replied Astrid, point-
ing to another one on his end of the table.
Giggling, they explained that the horses
were to be used as messengers if one ever
tires of the other. If Bob should find a
horse beside his plate at the breakfast table
some morning, it would mean that as far as
Astrid is concerned, the romance is over.
And vice versa. The idea was that by
using the little horses, it would save a lot
of argument.
"We don't argue, because if one of us
gets upset, the other kids about it," Astrid
said, and Bob agreed with a nod.
They met for the first time when they
worked together in "Dimples", these two,
and Bob said, "I got that buzz, you know.
It couldn't be anything but love."
The first day of the picture Bob startled
her by apologizing for staring at her. "I
can't help it," he told her. And Astrid,
having been in Hollywood for five years,
thought to herself: "Another flirt."
They didn't get on very well at first. For
instance, there was the scene where the
script indicated they must kiss.
"I don't want to kiss him," Astrid com-
plained.
"It's a silly place for a kiss," Bob pro-
tested to the director, while secretly hoping
it would be left in. The kiss was left in
and later seemed such a good idea that they
practiced it in private. Bob always fights
for what he wants and he wooed her en-
thusiastically but without marked success.
One night he had given her a sales talk
on marriage all evening. It got to be twelve
"All right," he said, "I suppose you think
I'm not good enough to marry you."
Astrid didn't pull that old bromide about
it being "so sudden,"' but she did intimate
that they might wait a little longer. At
the first hint of success. Bob took new hope
and at one o'clock she said "yes". They
were married the next day.
If Astrid makes the pictures she has
contracted for, she will be as busy as Bob
will be with his new contract. "But if the
stork comes around, I'm not going to send
him away just for a picture," she said
firmly. "I want to have children. We
both do," and Bob nodded vigorously.
"When Doug gets to be a big star and
starts upstaging me, I'll have a lot of chil-
dren— so many he can't hide them from his
public," Astrid threatened. "And if he starts
bragging about what a big star he is, I'll
just say. 'Well, look what a big producer
I am !' "
"You win !" he told her, but the look in
his eyes belied his words. He has won the
girl of his choice, he is winning success
in his work, and it seems to me he will al-
wavs win — at life.
Toby Wing, Fernand Gravel,
and Ethel Merman partying.
70
MODERN SCREEN
vv
Ive found LOVE
''With women, Romance
comes first ... that's why I
always advise: Guard against
COSMETIC SKIN this easy way''
• Don't let unattractive
Cosmetic Skin spoil your
looks. Screen stars use
such a simple, easy care
to keep skin smooth —
gentle Lux Toilet Soap.
• And clever girls everywhere
guard against Cosmetic Skin
Hollywood's way — by removing
cosmetics thoroughly with this
ACTIVE lather.
• They take the
screen stars' tip
— win romance —
and hold it — with
skin that's lovely
to look at, soft
to touch.
9 out of 10 Hollywood Screen Stars use it
.JO,
OVELY SKIN Wins romance —
and holds it," says this
charming young screen star. "So
don't risk unattractive Cosmetic
Skin. You can guard against it
easily as I do — by removing stale
rouge and powder thoroughly
with Lux Toilet Soap."
Choked pores cause dullness,
tiny blemishes, enlarged pores —
Cosmetic Skin. Use cosmetics all
you like, but before you put on
fresh make-up, ALWAYS before
you go to bed, protect your skin
with Lux Toilet Soap's ACTIVE
lather. It keeps skin smooth!
71
MODERN SCREEN
"Smart GIRL-you know I
can't hang on to a grouch
when you tempt me with
Beeman's. Now there's
real flavor — fresh, lusty
flavor that wakes up your
taste! Smooth on your
tongue yet chockful of
fresh pep.
Of course it's this ingeni-
ous airtight package that
keeps Beeman's so extra
fresh and flavorsome. I
say — we ought to keep
Beeman's on hand all
the time!"
Beeman's
AIDS DIGESTION.
THE FOREIGN STARS TAKE THEIR ROW
Thougli they come Irom distant shores, these players
have won the heart of the great American public.
As a result, they rate high at the hox ollice
Danielle Darrieux Charles Boyer Marlene Dietrich Herbert Marshall
Errol Flynn Sonja Henie David Niven Merle Oberon
Greta Garbo Luise Rainer Francisita Gaal Madeleine Carroll
72
MODERN SCREEN
How long has it been since you tried a completely different way of
fixing your hair? With your ringlets brushed high like this, we bet he
would look at you with new interest . . . with an adoring new gleam in
his eye! A beguiling hair-do has been known to change a woman's
whole life! Why don't you try it?
An artist looking at you might advise you to wear some of the very
colors you think are unbecoming! A fixed notion about certain colors
has made many a woman miss being the sparkling, vivid person she
could be. Some new shade might do wonders for you! Why don't
you try it?
Maybe you're one of themi One of the
women who still buy the same brand of sani-
tary napkins you started asking for years ago!
Then lady — here's grand news ! There's some-
thing better now ! Modess is so much softer . . .
so much safer.. .\t is changing the buying habits
of women everywhere! Why don't you try it?
Get a box of Modess today — and discover the
amazing difference! Cut one of the pads in
two. See . . . feel . . . the fluffy, soft-as-down
filler. Compare this with ordinary pads made
of crepey, close-packed layers. You can easily
see why Modess never becomes stiff and rasp-
ing in use . . . never chafes.
Now — rciniive the moisture-proof backing
from a Modess pad. Drop water on it! See
why you need never fear embarrassment. Only
Modess gives you this "certain-safe " feature!
Yet — for all its greater comfort and security
— Modess costs less, in most places, than any
other nationally known napkinl
IF YOU PREFER A SMALLER, SLIGHTLY NARROWER PAD, SAY "JUNIOR MODESS'
73
SPRING
SMARTNESS
BY ANN WILLS
MOVIES GIVE EXCITING HINTS FOR
YOOR IMPORTANT SPRING OUTFIT
WHEN YOU go to "The Goldwyn Fol-
lies," you'll see a musical film in Techni-
color, with an all-star cast of singing and
dancing stars. Andrea Leeds, Helen Jep-
son, and Vera Zorina — all these and many
other stars will give you good entertainment.
And, if you're the least bit clothes conscious,
they'll give you something else, too — ideas
for your spring wardrobe.
Now is the time when every smart girl
starts planning the most important clothes
of the whole year — her spring outfit ! And
if she's really smart, she doesn't buy
blindly. She looks around carefully first,
studies the styles that are being of¥ered,
makes up her mind (Continued on page 90)
Dancing, Andrea
Leeds wears a
pastel sheer
over taffeta.
Andrea's daytime
dress of dark, sim-
ply woven fabric
has white trim.
MODERN SCREEN
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w,
Easy to do . .just read below
^1/
How
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75
MODERN SCREEN
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ON EACH TABLET
Louise Fazenda arrives in New
York to attend the premiere of
her latest picture "Swing Your
Lady."
LOVE IS ODT
( Continued- from page 31)
fact that I have as much of a social life as
the next fellow who has a job that takes
most of his time,
"Actually, I have three jobs, I'm on the
screen, I'm on the radio, I'm on the con-
cert stage. Why work so hard? Well, I've
got only so many notes in my throat, and I
want to get them out while I can.
"On days like this, working from eight
to six, singing the same song forty or fifty
times, I get blamed sick of hearing rny own
voice. On days like this, I could give^ re-
tirement a passing thought. If I had time.
But tomorrow I'll be doing some other kind
of scene, that's one nice thing about the
movies, and probably looking forward to
my next day of singing. That's life.
"No, seriously, I haven't any plans about
retirement. Even indefinite ones. The last
thing I want to do is to sit around, doing
nothing. That doesn't appeal to me. The
chief reason why I'm a singer is that it's
the most interesting life I've encountered
yet. If you know a job that's more interest-
ing, bring it on, I'll consider that, too.
"I gave up a lot to be a singer, I had to
struggle for years, learning how to use my
voice, learning how to comport myself on
the stage, acquiring a repertoire. This
would be a heck of a time to retire. I'm
just beginning to have the fun of working
out what I've learned.
"Even when I'm working, I get in one
to three or four hours of practice a day,
building up my repertoire. By the time we
go on our tour, my accompanist, Theodore
Paxson, and I won't need any music. We
can walk into a concert hall with our hands
in our pockets and go to work. If tele-
vision reared its head tomorrow, I'd jump
in and find out what it was all about, try
to be ready for it.
"Accidents don't often happen in singing
careers. You have to be ready for the
breaks when the breaks are ready for you,
or you're sunk.
"There's been just one accident in my
career. Pictures. They were pure accident.
A lucky accident, I came out here for a
concert, some studio executives heard me,
and I was yanked into the movies. It had
never occurred to me to try to be an actor.
Particularly a movie actor. I had blue eyes
and blond hair, which, I had been told, were
what the movies didn't want. On top of
that, I was an opera star, and people don't
like that kind of singing.
"You know about the sitting around I
did, learning something about movie-mak-
ing. You know about the false starts I
made. But I don't think one of the reasons
for my slow start on the screen has ever
come out. When I first landed in Holly-
wood, recording equipment wasn't what it
is today. Sound engineers ripped their hair
when I started singing ; they told me I'd
have to quiet down. But I was mean. I
won't fix my voice for their machines. I
made them fix the machines for my voice.
Now I yell my lungs out, and they j^ell for
me to sing louder."
He leaned back, enjoying his cigarette.
"What did I give up to be a singer? You
wouldn't be trying, by any chance, to bring
love into the conversation again? Nix. The
principal thing I gave up was leisure. I
gave up time to do countless other things
I'd like to do. There are a lot of books I'd
like to read, there are a lot of shows I'd
like to see. There's a little trip to the
Mediterranean I'd like to get out of my sys-
tem, I'd like to sail more, do more fishing,
ride horseback out in the wilds.
"There are a lot of interesting people I
might have rriet if I had stayed in the East.
But there are people out here who are just
as interesting. Some of them have great
stories. Listening to them sort of gets that
old reporter blood in me pounding again."
That's right. For all his disinterest in
newspapers today, he used to work on one,
in Philadelphia. How did that happen?
"Well, I had to pay for music lessons
some way. And as long as I had to have
a job, I wanted one with a little variety.
That was one reason why I liked newspaper
work. And, afterward, work as a copy-
writer in an advertising agency. It wasn't
the same old grind, day after day. Every
day brought a new problem to tackle.
"I thought I was pretty versatile in those
days. Actually, I was just being scattery.
I could write a little, draw a little, sing a
little, fish a little, hunt a little. But I
wasn't really good at any one thing. Be-
cause I wasn't concentrating on any one
thing. I was just drifting — and I didn't
know where. The day I realized that, I
started concentrating. I picked singing. I
had been doing that since I was ten.
"I told you a few minutes ago that I'm
just beginning to have the fun there is in
singing. I used to be a much stricter musi-
cian than I am now. I had to be. -A be-
ginner can't take licenses. He has to follow
all the rules of voice technique, if he wants
the critics to listen to him. Just as a young
painter has to paint straight, to prove that
he can, before people will take him seriously
if he tries to be original,
"Look at Chaliapin. One of the most
popular singers of all time. Yet when he
sings, the result is completely unlike^ the
song as written. He could sing ^straight.
But he believes in telling a story."
Nelson should know. He makes a con-
cert tour across the country every year,
singing two or three or four times a week,
in as many different cities. As soon as he
finishes "The Girl of the Golden West," he
is starting a new tour. He has never started
so late in the season before. But never be-
fore has he made two pictures in one year.
"I don't see any signs of a let-up ahead —
thank God !" he told me. "Hollywood can't
understand why I rush right from pictures
into concerts. Hollywood thinks I must
have a cash-register mind. But Hollywood
has a habit of getting me wrong.
"I can use the money ; I don't deny that.
But I can think of easier ways to earn it
than on concert tours. I go on these tours
every year for two reasons. In the first
place, they sublimate my lust for travel.
At the same time, facing all kinds of audi-
ences, in all kinds of towns, under all kinds
of conditions, is invaluable experience. It
keeps me toned up, on my toes, constantly
trying to improve."
MODERN SCREEN
EverytKing was
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□ Rachel □ Rachel No. 2 □ Rose Rachel
n Flesh □ Brunette
Name . .
Address
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.J
MODERN SCREEN
m BOB TAYLOR HAD A CHANGE OF HEART?
{Cunfinncd from page 27)
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to the radio and fool around with the
horses and read agricultural bulletins.
We haven't changed. Nothing is changed.
"I've come back and I've picked up just
where 1 left off. I've moved into my
place in the San Fernando Valley. Two
miles from Barbara's ranch, Marwyck, my
place is. Thirty acres, I have, with a
palatial mansion of four rooms thereon !
On the goodly Taylor acres I have some
horses, just to galumph around on, not
to race. I also grow alfalfa, the better to
feed the horses, my dear. I grow citrus
and a thing called pineapple guava which,
my mother and Barbara assure me, can
be resolved into jelly! My mother still
has her house in Beverly Hills and time
marches on!
"As for other items which have been
hinted about my person, let's see — I do not
wear English clothes. Not a sock did I
buy in all England, let Bond Street beckon
as it may. I did buy some English clothes
to wear in the picture but what with the
duty and rough wear and tear they got I
gave them all away before I shipped for
home. I have not a trace of an English
accent, as you have observed.
"I did try to acc|uire one, at first, think-
ing it would come in handy for the
picture when, as a Yank at Oxford I am
supposed to be quite Anglicized at the
picture's end. But after losing my way in
a maze of Cockney dialects and Kentish
dialects and dialects from Surry and
Shropshire and this 'shire and that, I gave
it up and stuck to the Nebraskan I was
born to. I have no trouble with the old
familiar right hand drive because I never
really learned the left hand drive oyer
there. My house was twenty-five miles
from the studio. I didn't know the roads
nor did I have time to familiarize myself
with the country and so I rented a car
and a chauffeur. And felt like a damned
fool, if I may say so, never having been
chauffeur-driven before.
"I am four months and some days older
than I was when I went away, there's no
denying that. But whether I am older
and quieter or younger and gayer I
wouldn't be knowing. It all depends, I
fear, on the mood, the wax or wane of
the moon, the hour of the night and what
I've eaten for dinner," laughed Bob.
"I cannot," he continued, with pleasur-
able malice, "discourse learnedly or ro-
mantically about the women of other
nations, don't you know, because I didn't
meet the ladies. - I didn't have one single
date the whole time I was away. Not one.
I STILL think Hollywood is the place of
places to live. I'm modern enough, I
guess, to like the white new houses, the
newness and beginningness of it all. It
looked good to me as my plane sighted
it, flying in. I do want, very much, to go
back to England. I didn't have a chance
to really see it. I didn't even do any of
the touristy things. I did not see the
Royal Family nor visit the Cheshire
Cheese and sit in the chair Charles Dickens
once occupied. I didn't visit the Tower of
London nor the British Museum. But I
want to go back and do all of these things.
I want very much to go back to Sweden.
I've always had a terriffic yen to travel.
If I've changed in any way, it's in an
accentuation of that yen.
"I've been asked what I missed most,
looking back on Hollywood from so many
thousands of miles away. You guess !
Right. Naturally, I missed my mother and
Barbara the most, and our friends. Next
I missed my car. In the studio I missed,
most of all, the prop boys and carpenters
and electricians who, over here, are my
friends. I missed not being able to call
the crew by their first names. I got so
that I could decipher their dialects after a
time and then everything was jake.
"No, I wasn't homesick. I'm not the
homesick type. I knew that I was coming
home again, anyway and besides, I adjust
easily and happily to any environment.
I'm the adaptable kind who could be
equally content in a hovel or in a palace,
in Paris or in Peoria. Doesn't matter a
hoot in -hell to me where I live !"
I said, "How did you feel about your
own importance in the scheme of things
when you got away and saw something
of the 'great, wide, wonderful world?' How
did you feel about the importance of pic-
tures, the importance of Hollywood?"
"I don't know that I've ever had any
passionate convictions about my own im-
portance," Bob said, "except that I feel
that any man doing any job is important
in his own little niche, however small. A
nail-driver at work on a skyscraper must
have a steady hand and a steady purpose
or he's apt to cause the whole structure
to go haywire. As for Hollywood, well,
Hollywood and New York are the two
places everyone asks questions about,
everywhere. But you know, they don't
ask so many questions about personalities
as they used to do, I'm told.
"Tell you one thing I learned, all right,
and that's how important the foreign
market is to us here in Hollywood. Boy !
The foreign market can make all the dif-
ference between a star being tops on the
box office list or twenty-seventh. It's a
huge market, you see, wherever our pic-
tures are freely admitted, England,
Scandinavia, France and so on.
T LEARNED, too," said Bob, "why the
■•■ English actors are such swell actors-
Leslie Howard, Ronald Colman, Bart
Marshall, Alan Mowbray and the others.
It's because they care about the theatre,
never get very far away from it, will drop
any movie contract, however fat, to do a
thing on the stage. It's because they
would rather be paid a ha'penny worth of
dried herring for a good part on the stage
than millions for a picture. They care
about acting, the English tradition, not care
about Shakespeare and tradition, not about
notoriety and noise-makers blaring how
good they are. This chap Griffith Jones,
who has as big a part as mine in the pic-
ture, if not bigger, he's terrific. The best
type of Englishman, long and lean, with
aquiline features. I told him he'd be
tremendous in Hollywood but I doubt that
he would come here. Not while the old
Drury Lane and others still use actors.
"As for myself," said Bob, and now the
depth of his voice was deeper, his blue
eyes black with seriousness, "I don't care
what I play so long as I can get out of
dress suits, leading man things, romantic
roles, all that tinsel. I've been limited,
much too limited in the stories I've played
in, the parts I've played. I'd play a
Western if I could do one. I want to get
parts where I can wear overalls, leave my
hair uncombed and unbrushed. forget to
shave for a few days. My first picture after
my return is to be 'Three Comrades' with
Bob Young, Franchot Tone and Margaret
Sullavan, I believe. That's okay. Notliing
dressed-up, fancied-up about that!"
78
MODERN SCREEN
f f
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Mudlum .
Ruddy -
79
MODERN SCREEN
Martha Raye knuckles down to For the second step, she slowly Our star cook now tops the
the absorbing task of making a adds a cup of pineapple juice filled pie shell with the fluffiest
pastry shell for her favorite pie. to the rich filling of this dessert. of meringue for that final touch.
EASY AS PIE! Well that certainly
describes Martha Raye's idea of a perfect
meal, the sort she likes so well that she
frequently prepares and serves it her very
own self on the maid's night out. Martha is
really very fond of cooking, as it happens,
so she takes advantage of this once-weekly
occasion by inviting her friends to join
her and her mother for dinner.
And does she shine at the mixing bowl
and stove? Well I'm here to tell you she
does ! Furthermore she asserts that she
takes off her hat to no one when it comes
to planning and dishing up, in short order,
a simply grand and grandly simple meal.
It didn't take long either, to discover that
I could enthusiastically endorse her choice
of foods.
Here then is Martha's favorite menu :
Hamburger Steak with Onions
Corn Pone
Shredded Cabbage and Raw Carrot Salad
Boiled Dressing
Pineapple Cream Pie
Coffee
No potatoes, you'll notice. But if you
insist, you can take care of this missing
feature very simply by baking the spuds
along with corn pone.
As for the rest of the meal, well, with
the exception of the pie (and I'm giving
you the recipe for that) it requires but the
fewest words of explanation and the
shortest possible period of preparation.
Much of the work can be done well in
advance, too. The dry ingredients for the
corn pone can be measured and combined
in the morning if you choose. The carrots
and cabbage for the salad should be placed
in the refrigerator hours early to chill,
though of course you wouldn't think of
adding the salad dressing until the very
last moment. Hamburgers and onions
require but a moment's attention and there
you are, all ready for dinner !
But how about the pie? Well that too
can be made in one-two-three fashion well
ahead of time. The shell can be baked
even a day ahead, if you choose. The
filling too, for that matter. Then a couple
of hours before dinner time, you simply
spread the filling in the shell, top it with
meringue and bake it slowly. A short
spell to cool off and there you are. But
why go into that now, when you have
Martha's recipe, right here, to follow.
"If you want to be really fancy," sug-
gests Martha Raye, "you can place the
meringue in a pastry tube and squeeze it
out in professional-looking curleycues and
doodads. But whatever you do, don't bake
the meringue too quickly or you'll spoil it
completely and past all hope."
Serve this delectable pie after just such a
meal as the one she outlined for us and
you'll discover, as I did, that Miss Raye's
simple, homey menu will win you paens
of praise.
EASY
A S
P I E
By MflRJORIE DEEN
PINEAPPLE CREAM PIE
with
"FEATHER-LIGHT" MERINGUE
Pie Filling
1 cup drained, canned crushed pineapple
1 cup pineapple juice and water, combined
4 tablespoons flour
2 tablespoons cornstarch
1 cup sugar
1 cup scalded milk
3 egg yolks
1 tablespoon butter
^ teaspoon salt
grated rind and juice of lemon
baked pie shell
Open a large can of crushed pineapple
(No. 2 size can). Turn contents into a
strainer or collander, set over a bowl to
dram. Measure resulting pineapple juice
and add more water, if necessary, to make
1 cup of pineapple liquid. Combine flour,
cornstarch and sugar. Slowly add scalded
milk, stirring vigorously. Place in top of
double boiler. Cook and stir over boiling
water and, while stirring, slowly add the
cup of pineapple liquid referred to above.
Continue cooking 10 minutes longer, stir-
ring occasionally. Separate eggs, reserving
whites in refrigerator for meringue. Beat
yolks slightly, add a little of the hot mix-
ture to them, then add slowly to remaining
mixture in top of double boiler. Cook 3
minutes longer, stirring constantly. Re-
move from heat, add butter, salt, lemon
rind, lemon juice and 1 cup of the verj
well drained crushed pineapple. Blend
thoroughly, chill. Turn into a baked pie
shell. Cover with the following Meringue
and place in slow oven (300° F.) for fifteen
minutes, or until meringue is puffed and a
pale golden brown.
"FEATHER-LIGHT" MERINGUE
3 egg whites
6 tablespoons granulated sugar
% teaspoon cream of tartar
Beat egg whites until stiff but not dry.
Gradually beat in half of the sugar com-
bined with the cream of tartar. (Use a
wire whisk rather than a rotary beater for
really "feather-light" results.) When half
of the sugar has been beaten in, fold in
the remaining sugar gently. If desired, a
little flavoring may be added — about yi
teaspoon of vanilla or as little as l4 tea-
spoon of other extracts being sufficient.
"Remember," says Martha, "the meringue
mustn't start to brown for seven minutes or
longer and if, after the specified fifteen
minutes baking time, it isn't brown enough
to suit you then it's far better to raise the
heat for the last minute or so than it is to
take chances with too hot an oven at the
beginning! So mind Martha now!"
Some time try this delicious pineapple-
flavored hot bread, too, all rich and fra-
grant and healthful with its honey, bran
and chopped nuts. Better not have it when
you are serving Martha's pie as dessert,
however. Because it would be considered
bad meal planning, you know, to have two
IF YOD FOLLOW MARTHA RAYE'S RECIPES BETTER HAVE BOBBLE PORTIONS ON HANB!
80
MODERN SCREEN
"Oh boy!" And Martha's right.
Her pineapple pie is one scrump-
tious treat. Just try her recipe.
recipes calling for the same fruit on the
same menu, yes, even when the fruit in
question is as justly popular as is canned
pineapple. However I do want you to have
the recipe for this delicious quick-bread in
your files because it provides you with
such a grand suggestion for using up that
extra cup of pineapple juice left over from
breakfast. For that matter, once you've
tried this Hawaiian Honey Bread, you'll
not wait for any such excuse but will plan
always to have on hand one of the small
8-ounce size cans which contain just the
right amount for the one loaf recipe which
follows.
HAWAHAN HONEY BREAD
^ cup butter .
1 cup strained honey
1 egg
2;4 C-ips sifted flour
3 teaspoons baking powder
^ teaspoon salt
1 cup all bran
1 cup unsweetened canned pineapple
juice
^ cup chopped nut meats
Cream butter well. Add honey. Cream
together thoroughly. Add egg and beat
with rotary beater until light and creamy.
Sift flour, measure. Add baking powder
and salt and sift again. Stir oiie half
of dry ingredients into honey mixture.
Add all bran and pineapple juice and
mix thoroughly. Add remaining dry in-
gredients to which nut meats have been
added. Stir only until all flour disap-
pears. Turn into greased loaf pan (lined
on the bottom with wax paper and greased
again.) Bake in moderate oven (350° F.)
1^ hours approximately, or until loaf
is firm and a cake tester inserted in cen-
ter of loaf comes out clean. Cool on
wire cake rack. This bread may be eaten
while still hot but it slices better after
being kept twenty-four hours.
This bread is just the sort of thing to
make a real hit with the youngsters, you'll
find. Or, cut wafer-thin, it can be made
into the most tempting of sandwiches for
a company tea party. So with this simple-
to-follow recipe you can please the family
and win new cooking laurels from your
friends.
THEY'RE THAT POPULAR
SECOND HONEYMOON
HAPPY the woman whose husband
still adores her after ten years of
married life ! She has kept his home neat
and comfortable; she has fed him well
— but when evening comes she still has
pep enough left to go to the movies and
have a grand and glorious time.
One of the things which will make your
housekeeping much easier is Franco-
American Spaghetti. This delicious spa-
ghetti is all ready to heat and serve. It
is on the table in a jiffy — your whole
family will love it — and it's a great com-
fort in these days of high food prices to
know that it costs only 3 cents a portion.
Give the children Franco -American
for lunch with milk and fruit. Other days
for dinner serve Franco-American as a
main dish or use it to make that left-over
meat into something that tastes like
the creation of a French chef. Franco-
American combines wonderfully with
other foods because of that inimitable
and savory sauce of cheddar cheese, sun-
ripened tomatoes and other delicious
seleaed ingredients.
Franco-American has become Amer-
ica's largest selling spaghetti because of
delicious flavor, reasonable price and
high nutritional value. It belongs on
your pantry shelf and on your table often
each week.
Franco-American is entirely different
from ordinary ready- cooked spaghetti
— get some today and see how true this
is. Your husband will say you're a fine
cook and after a day's work you'll have
pep enough left to enjoy yourself.
Ffonco-^mericon spaghetti
The kind with the Extra Good Sauce — Made by the Makers of Campbell's Soups
MAY I SEND YOU OUR FREE
RECIPE BOOK? SEND THE
COUPON PLEASE
|?k ' The Franco-American Food Company, Dept. 64
'jfc I Camden, New Jersey
1^ ^ Pleasesend free recipebook: "30TemptingSpaghetti Meals.'
Name (print)
Address-
City
-Stare-
MODERN SCREEN
SECRET
of soft smooth skin
6^
BLANCA VISCHfR appearing in Paramount Pictures
BETWEEN YOD
Why don't men vote for the
Queen of Masculine Hearts?
$5.00 Prize Poem
A Tribute to Morris
You can have your Robert Taylor
With his lovely wavy hair
You can have your Ronald Colman
With his mamier debonair.
You can have young Kenny Baker
With his voice just like a lark
And dashing Tyrone Power
Can always toe the mark.
Joel AlcCrea is always good,
For performance fine and dandy
As for singing, Nelson Eddy
Makes the fair sex melt like candy.
But of all these well known heroes
There is one — a shining star
A handsome unspoiled youngster
Who is bound to go so far.
To the amazing Movie Kingdom
His wandering feet did stray
And now his popularity
Will have no more delay.
He's very new this fellow
Whom my little pen does stress
He's starred in but two pictures
But he's now among the best.
As the handsome Kid in Galahad
He grinned his way to fame
In his performance in Submarine
He nothing did disdain.
You now know whom I speak of
For that smile that brought him fame
Belongs to no one other
Than that handsome boy named Wayne.
— Betty Munroe, Upper Darby, Pa.
$2.00 Prize Letter
Who Is Queen?
It is my belief that the men of America
are the victims of a grave injustice. Every
time a man picks up a movie book, what
does he see? Raves about Robert Taylor,
Tyrone Power or Clark Gable. Do the men
like this ? I don't.
If it were left to the women, the fair sex
in Hollywood would rarely be mentioned
in fan mail departments. Are the men sup-
posed to sit down and take this without a
murmur? You're right, they won't. So, girls,
if you're on the level, give the girls a
break for a change.
As long as the women have been given
their chance to do their hero worshipping
in print, suppose we men get busy and do
some heroine worshipping. What we want
to know is Who Is Queen of the Masculine
Hearts ?
I nominate Ginger Rogers, one of the
swellest girls in pictures. — L. Gem Holmes,
Add, Ga.
$2.00 Prize Letter
Too Much Slapstick
When James Cagney squirted grape-fruit
in his leading lady's eye, and Clark Gable
struck his heroine harder than Emily Post
okays, they were simply paving the way
for a cycle of sophisticated slap-stick.
In "Double Wedding", Myrna Loy
cracked a picture over the noble Powell
brow. Carole Lombard and Fredric March
have plenty of free-for-alls in "Nothing
Sacred", and Irene Dunne had a rollicking
good time aggravating Gary Grant in "The
Awful Truth". What with Miriam Hopkins
doing some hair-pulling and leg-biting in
"Wise Girl", Claudette Colbert biting Gary
Cooper in "Bluebeard's Eighth Wife", and
Gladys Swarthout receiving a lusciously
ripe tomato in the face in "Romance in the
Dark", it looks as though we're in for it !
The Mack Sennett custard-pie touch as
practiced in "Private Lives" and "It Hap-
pened One Night" is appreciated now and
then. But all this scratching, biting and
packing a mean wallop — what will its effects
be? Will these actresses be able to step
back into "safe and sane"' roles ? — Mary F.
Donner, Seattle, Wash.
$1.00 Prize Letter
Here's to you, Martha Raye!
My letter is about the story concerning
Martha Raye in the February issue of
Modern Screen.
Aren't movie stars human? Evidently the
columnist who panned Martha Raye doesn't
think so. Wouldn't anyone who suddenly
found he was making a salary large enough
to make all his dreams come true rush out
and buy himself some lovely clothes, a
new car, and a beautiful home ? I'm certain
that I would; it's the human thing to do.
Martha Raye, in my opinion, is a grand
comedienne and as long as she continues to
turn in those hilarious performances, I think
she's entitled to do just about as she
pleases. So, here's to Alartha Raye — ^may
she buy all the furs and dresses that she
wants ! It's her money, and, as she says,
"You can't take it with you." — Martha
Earle, Nashville, Tenn.
$1.00 Prize Letter
A Plea For Simplicity
It can be recaptured, can't it? The re-
freshing sweetness of "Seventh Heaven"
was still there when Simone Simon and
James Stewart played the roles in the third
production of the picture.
They are not handsome nor beautiful but
much, much more. They symbolize the es-
sence of life, youth — carefree and spirited.
The secret of their acting ability is that
they do not try to impress their audience.
They seem to live the parts they are por-
traying. After all, real people on the screen
appeal to us and we haven't lost our taste
for real stories.
Why, why do the people who make our
pictures give us so much ermine, sequins,
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for your teeth, lodent No. 2 is specially com-
pounded for teeth hard-to-bryten. Removes
stubborn stains— even smoke stains. Minty in
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82
MODERN SCREEN
'N'
Stardom brings luxuries to
Martha Raye — and why not?
winding stairways, and impossible stories
when we are satisfied with less "foo'' and
prefer simpler, sweeter stories with humor,
pathos, and romance? — Ula Atterberry,
Peoria, 111.
$1.00 Prize Letter
The Awful Truth
If more of our problems were presented
to us in the vein of "The Awful Truth",
we'd see just how silly and ridiculous some
of them are.
In "The Awful Truth" we have a well-
known problem gayly decorated with
laughter and clever dialogue. Without
preaching it drives home a point in a most
subtle and effective manner. We are shown
how a suspicious nature can make a moun-
tain out of a mole-hill — especially in wedded
life — and how this complex can nearly ruin
the happiness of marriage. And most every-
one thinks as the Warriners did that the
divorce court is the only solution.
It's films like "The Awful Truth" which
make screenfare more than just a pleasant
way to pass time. — Samela Parkhurst,
Seattle, Wash.
$1.00 Prize Poem
More Power, Please!
Whom do all the maidens cry for,
Whose charms do all young swains sigh
for?
Power !
Whose pictures do we send away for.
Whose movies do we gladly pay for?
Power !
With whom do we annoy our mothers,
Who wins scorn from jealous brothers?
Power !
Who's the man who smashed that fable
That the girls all go for Gable?
Power !
Who's the hero of the hour
He's our idol, TYRONE POWER!
— Carmel Prashker, Brooklyn, N. Y.
(Continued on page 122)
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83
MODERN SCREEN
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(I'lease Print)
By the time you read this, all
may be sweetness and light
with Mr. and Mrs. Lew Ayres.
As we go to press, Ginger Rog-
ers and her estranged hubby
are talking over reconcihation
plans, 'tis said.
HONEYMOON HOME
(Continued from page 29)
the ceiling and fireplace panel are of pickled
pine. And there's the deeper brown of fine
antique pieces and the warmer brown of
the sprawl}' loop chairs.
Miriam's paintings are a stor}- in them-
selves. Sign posts of her career. For ex-
ample that John Carroll lady, mounted in
solitary glory above the mantel. Broadway
had just begun to take the little Hopkins
to its heart v^dien she bought that. It took
most of her savings but to her it was a
symbol of success, of dreams fulfilled. It
meant the small Alabama towhead who
had started out with nothing much but
spirit and a defiant young will, had reached
her first milestone. The Metisse marked
the second. She had scored with Chevalier
on the screen and Hollywood, overnight,
was distinctly Hopkins-conscious. Instead
of celebrating with a mink coat she cele-
brated with a Aletisse. Then came the
Renoir (hanging above the Louis X\'
desk), and the two Picassos in Miriam's
bedroom — evidences of the flood tide of
fame. But it's as George Gershwin once
said. "If Miriam didn't have a penny, she
would still have beautiful things around
her or make them seem beautiful."
Before his death, you could usually find
Gershwin up there on Sunday evenings,
sitting at the grand piano, idling over it.
Miriam's Sunday evenings are famous.
84
MODERN SCREEN
They never start out to be parties. They
simply grow that way. And you can be
sure of two things — brilliant talk and a
brilliant time. "Won't you drop over?"
says Miriam. And half of Hollywood
does. Writers, artists, composers. . . . She
goes in for the gypsy type of entertaining,
never formal "because you can't have so
much fun !" Everybody sits on the floor
and sings. Her cook, who comes from
Prague and is a genius, shakes her head.
Six were expected for supper. Twenty
have turned up. But somehow Cook resur-
rects a turkey stuffed with truffles and a
dozen other miraculous dishes. How she
does it nobody knows. Sometimes a small
Russian orchestra appears or a miniature
Tzigani band that breaks into strange wail-
ings. But as a rule the guests supply their
own entertainment.
It was at that surprise birthday party
Litvak gave Miriam, that George Antheil
composed a song hit right on the spot
and dedicated it to her. That's the way
it is at Miriam's. Somebody casually tells
a story and another movie is born. Things
happen there.
She'd rather eat off a tray than a table
any day but occasionally she does give a
regular dinner party. Never for more than
eight. First, of course, you have cock-
tails in the intimate little bar of¥ the living-
room. It's done all in the seasoned pine,
and accordion doors open into it. You
just have time to discover how funny the
James Thurber drawings are and how fas-
cinating your fellow guests can be when
dinner is served. You're never kept
waiting.
There is not a single artificial light in
the dining room. Only candlelight. Even
the side brackets hold candles set in glass
prisms. The drapes are the same as those
in the living room, printed linen in brown
and white. The walls are the same soft
blue tone as the other walls and the rug is
old ivory. But the furniture is original
Chippendale. In the cabinet are antique
sepia marine plates that were new when
Cape Cod was founded. It's a straight-
forward room with a quaint and fluty air.
An elegant balcony opens- off the dining
room. And when the moon comes up over
it, a gypsy band is playing softly under-
neath, and you're dining in the candle-
light— oh, Miriam knows how to give her
parties the enchanted touch !
This is not the only balcony in the
house. "Maybe it's the Southern in me.
Or," she chuckled, "a throwback to some
sentimental aunt. But I adore small bal-
conies. There were three of them here to
begin with and I added two." Since the
living and dining quarters and master bed-
room suite are on the second level (re-
member it's a mountainside house ! ) they
can all boast balconies.
Miriam's private one is a dream. She
can lie in bed and see "half of Hollywood"
over it. Incidentally, she hates getting up.
She would rather sleep all day and be up
all night. ("Stage training, my dear!" she
says.) The one highlight of her bedroom
is — comfort. No feminine fussiness. There
is a grand fireplace, a big woolly reading
chair in sand color and a warm, woolly
rug of the same shade. The bedspread of
raw silk is in blue and those drapes are in
a hand woven blue and chartreuse plaid.
The furniture is bleached birch.
Over all this, presides Miriam's little
French maid. Now Mimi, who has been
with her for years, has a system. If
Madame is in a pensive mood she lays out
black velvet for evening. If she's very gay,
Mimi lays out white — usually in a moire
or crepe. Colors? Mais non, Madame sel-
dom wears them in formal clothes. An
occasional chartreuse, perhaps. Or a deep,
rich burgundy. And for the soigne party
she wears silver or gold lames. "Around
the house," says Mimi, "is another mat-
taire." Madame loves the little tailored
pajamas and short brocaded jackets. She
can lounge in them — and read. Mon Dieu,
how she reads ! Three books a week and
all the magazines."
That accounts for it. The "book cor-
ner" in every room. In the living room,
of course, there are regiments of books
marching up and down the walls on either
side of the fireplace. Not in stilted rows.
In used rows. In her own room a half
dozen or so lie conveniently on the round
birch table.
Neat shelves of them are within easy
reach of the big leather chair in Anton
Litvak's room. This is done all in creamy
white and burgundy red and old mahogany.
There's an interesting lithograph by Hen-
rietta Shore on the wall — and what Anton
enjoys most are those costume sketches
taken from Miriam's picture, "Becky
Sharp," and matted on material from the
gowns she wore in that production. His
room is on the first level of the house —
along with Michael's.
Michael, the small king of the estab-
lishment, is Miriam's four-year-old adopted
son. She knows when he wakes. She's
there at night when he goes to sleep.
Michael has his own little dining room in
blue and white like the nursery and seven
million toys, but the Big Event in his life
is going to the studio to watch "Mummy"
work. "You see," he said solemnly, "we
usually have ice cream. And the men with
the lights let me play with them." I'm not
given to drooling over children but I con-
fess I'm a bit goofy over Michael.
Miriam's house is more than charming.
It has that undeniable air- of being a home.
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85
MODERN SCREEN
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CLIP HERE
color SV- II j^TiBL-t^ 20c
HOLLYWOOD DIRECTORS CHOOSE THESE SIX PLAYERS AS THE
Phyllis Welch
(MGM)
Annabella
(Fox)
Ol-ympe Bradna
(Paramount)
Marjorie Wea-
ver (Fox)
IT'S TODGH TO DE SINGLE
(Continued front page 43)
manifold inconveniences the most mani-
fold and mammoth is the servant problem.
"Take Daisy. When she came to us we'd
been without a servant for months. Daisy
came to us just in time. For we'd used up
every canned tamale on the premises. Our
three sets of dishes were all dirty, and
what to do? Our beds hadn't been made
for weeks. Our suits looked as though we
had slept in them, and sometimes we had.
"Then Daisy came. Our hopes raised and
our tummies growled. But for three mor-
tal days Daisy refused point blank to cook
for us. Our hollow cheeks and cavernous
eyes moved her not a pang. She said that
she had first to arrange her cupboards. She
had every appearance of a director who is
displeased with a set and just won't make
mudpies, I mean pictures, until the set is
rearranged. Anywaj', she set to work ar-
ranging" them and then, while Rome burned
and our intestinal fortitude collapsed she
rearranged them again. She put all the
china, having laundered it, on the shelves
where the canned goods had been. She put
all that remained of the canned goods on
the shelves where the potatoes and onions
had been. Then she stood back and sur-
veyed her handiwork.
"Our bleached bones would have been
strewn about Brentwood by now had it
not been for kindly folk who invited us to
dinner parties, sometimes separately, oc-
casionally together. But there is another
inconvenience about being a bachelor, and a
starving bachelor at that. I never can tell
whether I'm being invited out for the
pleasure of my company or whether I'm
being invited for the same motives as
prompts people to give to the community
chest and the foreign missions.
I DON'T know," sighed Jimmy, "but
people don't seem to care about working
for us. I call employment agencies and
tell them what we want and they tell me
they have a Jewel which they will drop
into my lap quick like anything and then
I wait around the house and no one shows.
"They think it will be too difficult, I
guess. Maybe it's got around that I never
remember to phone that I'm not coming
home for dinner until I'm just sitting down
to another dinner somewhere. Maybe they
think I'm inconsiderate, not the kind of
person they want to know or something.
Then they may have got wind of the fact
that when our dinner bell is rung we al-
way take it as a signal to take our showers
or make those phone calls we've neglected
or perhaps we're seized with a nostalgia to
write long newsy letters to the folks back
home or something. But Daisy is very
grim about this. When she rings the
dinner bell she rings the dinner bell and
we come down and eat, or else.
"Before Daisy, we had a colored couple.
We thought we were all set when they
first came. The meals started out to be
fine and dandy. Of course the bills were
such that you might have supposed we were
hotel proprietors doing a rush business.
We told them that we should deal with a
cheaper market, a sort of cut-ratish market.
That night they brought in a sort of duck
for dinner. The cook brought it in her-
self. She said 'this was a very tired duck
when it arrived, suhs. It had circles under
its eyes. But I have done the best I could
with it, the life it has led and all. I have
worked very hard to revive this duck,
suhs, and the least you can do now is to
eat it and like it.' I did eat it. And in the
night it up and bit me on the ear and
caused me many minor discomforts which
I cannot go into here as there are some
things a gentleman does not make public.
The duck, we were told, had limped around
from the cheaper market and the inference
on the word 'chea.p' did not seem to apply
wholly and exclusively to markets. We
went back, not to the cut-rate markets but
to the cut-throats.
"Well, next we began to notice an ap-
preciable falling-off in the quantity of
our food. We did a little quiet sleuthing
and discovered that our treasures were
passionately fond of dogs. There was every
intimation that the more they saw of men
the better they liked dogs. We would
catch, all through the days, savory odors
of cooking but when the dinner hour came
we would get only what might be called
a snack. They were feeding the dogs, not
the crumbs from our table, but the cream
of the cream, and plenty of it.
"We knew that we had to get rid of the
pair. But " how ? Not one of us had the
nerve to fire them. So there vi'e were.
We didn't know what to do. We held more
conferences than movie producers ever do.
At last we hit it ! We'd move ! We'd move
out of the house and leave 'em flat. We
didn't like the house any too well, any-
way, we said, though we'd never said so
before. But there was our out. And we
took it. We just folded our tents one dark
and stormy night and, like the Arabs,
silently went away.
"This litany of woe," said Jimmy, timid-
ly suggesting a chicken sandwich and a
glass of milk to the waitress in the studio
commissary, "is not yet over. For when
we disappeared from that house we turned
up, somehow or other, in an apartment in
the Normandy Village here in Hollywood.
"For days and weeks we did without a
servant and it got to lookin' like something.
Then, just as things were getting all out
of control and the cupboard was bare and
this little dog had none I awoke one
morning to hear strange stirrings in the
kitchen regions. Maybe it was a burglar,
I thought. But it was too early to get
86
MODERN SCREEN
MOST LIKELY TO SDCCEED
Mary Maguire
(Warner)
Wayne Morris
(Warner)
up and see. So I went to sleep again and
hours later I awoke and wandered out to
the kitchen and there was Ellen ! Ellen,
without benefit of employment agency or
anything. Ellen, and miracles had hap-
pened while I slept. The mounds of
ashes which had given the place the look
of Vesuvius after an eruption had dis-
appeared.
"Now how, I wondered, had she managed
that? The sink no longer resembled a
china rummage sale. Yep, Ellen was there,
big and black and competent. She worked,
we learned, for the Normandy Village,
part time for each tennant. We took
Ellen right away from the Normandy
Village. And for a time there were prac-
tically no inconveniences.
DUT all too soon it developed that Ellen
■*-'was a tap dancer. And it soon further
developed that Ellen's art was more to her
than the combined stomachs of Stewart,
Swope & Logan. She really didn't care
about us compared to doing a dusky ver-
sion of Fred Astaire or Eleanor Powell.
And so one night Ellen went forth to her
dancing lesson and just never came back.
We thought of suing her for desertion
but the best legal advice assured us that
there is no such thing.
"Yeah," said Jimmy, tugging at his
collar-length hair, "yeah, the inconve-
niences of being a bachelor are something
like the inconveniences of married life, I
bet. It's seldom the colorful, dramatic
things that cause the ructions and the
Reno-vatings.
"Some of the inconveniences are, really,
more than just inconveniences. Some of
'em give you a kind of an ache of missing
things, of time passing and cheating as it
passes. For instance, I want a home. I
want a home of my own and want it badly.
I want to build me a house, design it, be
my own architect.
"I studied architecture at Princeton, you
know, with the intention of expressing my-
self in steel girders. So I want to put it
to some use. I want to have my own
furniture. I want to hang my hat on my
own hatrack. I want to have my own gar-
den and books and things. I'd like the
feeling of walking on solid earth and being
able to say 'this is mine.'
"I'm a possessive cuss, at heart. But as
a bachelor, I don't dare to strike roots. I
might build me a Georgian mansion and
turn around and marry a girl who wouldn't
be happy in anything but a Mediterranean
type villa. The result is, I don't build. I
don't settle down. I don't have anything
permanent or satisfying or mine own.
"So I guess," drawled Jimmy, grinning
above his pain, "that it's not the girls you
take to the Troc and all who cause a
bachelor his inconveniences. It's the Daisys
of the world and what they do to us. I
guess when you ask me about the incon-
veniences of being a bachelor I should
just sigh and roll up my eyes and say, 'My
dear, this servant problem, it will be the
death of me !' "
A picture-book baby is little dark-
eyed Elizabeth! Along with many of her
contemporaries in a pleasant New Jer-
sey community, she's contributing her
health and growth records to a study of
infant diet. Last month she started
Clapp s Baby Cereal — and only a few
days ago she struck up a great friend-
ship with Clapp's Strained Spinach.
Jusf a luxury, that reclining position
during meals, for she's quite able to sit
up alone now. There's luxury, too, in
the variety offered by her Clapp menus
— four soups, three fruits, seven vege-
tables, and cereal! .All vitamin-rich, be-
cause they're pressure-cooked. Result:
Elizabeth has gained more than a pound
and grown % of an inch every month.
Creeping for a month now, and still
gaining fast, she's a happy, hearty lit-
tle consumer of all the foods that ba-
bies ought to like. Clapp's Foods really
do taste better. And they have the tex-
ture that baby specialists recommend
—finely-strained, but not so liquid that
a baby marks time, with no advance
over the bottle.
16 Varieties of Clapp's Strained Baby
l'()uil:s -Baby Soup Strained or Unstrained.
\egetable Soup, Beef Broth, Liver Soup;
Apricots, Prunes, Apple Sauce; Tomatoes,
Asparagus, Peas, Spinach, Beets, Carrots,
CIreen Beans; Baby Cereal.
FREE Booklet! Photographs and records of 12
Clapp-fed hahies — and valuable diet informa-
tion. Write Harold H. Clapp, Inc., Dept. QSA,
777 Mount Read Blvd., Rochester, New York.
NEW! . . . for young children
Clapp's Chopped Foods
Doctors asked for tlieni . . . even-tcxtured ioods
with all the advantages of Clapp's Strained
Foods, hut more coarsely divided. At dealers'
now — T ememher them when your baby out-
crows Clapp's Srraitied Foods.
87
MODERN SCREEN
/LOOK
at your eyes
• Today's fashions demand that
the eyes play a big part in femi-
nine make-up. An off-the-face hat,
a mysterious veil must set off spar-
kling, well-groomed eyes!
KuRLASH in a few seconds curls
your lashes in a sweeping curve
— ^makes them appear naturally
longer and darker, makes eyes
seem larger and more glamour-
ous! Only SI at all good stores.
Send your name, address and
coloring to Jane Heath- Kurlash
consultant. Department E-4, and
receive free a complete personal
color chart and a booklet on eye
make-up.
THE KURLASH COMPANY, Inc.
Rochester, New York, U. S. A.
The Kurlash Company of Canada,
at Toronto, 3.
CovyrigU 1938, TTie Kurlash Co.. Inc.
GRAY
HAIR
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2342 Goldman Bldg., St. Paul, Minn.
Name
Street
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Color of your hair?.
.State.
J— ■
1
OUR POZZLE
Puzzle Solution on Page 123
ACROSS
1,
7.
14.
15.
17.
18.
20.
21.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
34.
35.
37.
38.
39.
41.
42.
45.
48.
50.
Star pictured
She comes from Georgia
Star of "Second Honeymoon"
The warden in "The Hurricane"
Loads
Barbara
Daisy in "True Confession"
Bustle
Amide
Plot
" In A Million"
Baby's bed
Robinson's wife in "The Last Gang
ster"
Sheltered places
Martha eper
Mediterranean island
Narrow passage between hills
"The Girl of The Golden West"
Showy
Heretofore
Male star of "Rosalie"
Joint
Dominique in "The Buccaneeer"
Go astray
Buddhist pillar
Male lead in "There Goes The
Groom"
First name of our star's husband
South .African liliaceous plant
51. "Susan Lenox, Her Fall And "
56. Miss Brewster in "Girls on Proba-
tion"
59. The Great Goldwyn
60. Star of "Every Day's A Holiday"
61. Beulah i
62. " Get Married"
63. A blow
67. Seethed
71. Policeman O'Roon in "Doctor
Rhythm"
74. Lorelei Dodge-Blodgett in "Doctor
Rhythm"
76. The self
77. Madge
78. "Don't - - - On Blondes"
79. Monumental stone
80. Our heroine stars in "Wise "
81. "One From Hea\en
82. Our star played in " Are Not
Gods"
83. Demolish
84. Ladle : var.
85. Unwell
86. Beverage
87. " Meets West"
88. Defects
89. "Her Husband's -- "
92. Pleases
94. Howdy Nelson in "Thrill of a Life-
time"
')5. Closer
MODERN SCREEN
PAGE
DOWN
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
19.
22.
24.
25.
26.
28.
29.
30.
32.
33.
34.
36.
38.
40.
42.
43.
44.
45.
46.
47.
49.
53.
54.
55.
56.
57.
58.
62.
63.
64.
65.
66.
69.
70.
71.
72.
73.
74.
75.
78.
80.
82.
83.
84.
86.
87.
90,
Dressmaker
Star of "The Awful Truth"
"Road to "
" Love I'm After"
''Blondes - - Work"
Star of "Angel"
"She to Eat"
"Beg, Borrow - - Steal"
Dried plum
Catherine (Sugar)
Mrs. Eddie Cantor
Nickel : chem. symbol
Traps
Dorothy in "The Big Broadcast of
1938"
"You 't Have Everything"
"Little Miss Roughneck"
Big
Relieved
Yield submission to
Small vegetable
Comedian Olsen's first name
Crowd
Judge Douglas in "Bad Man of
Brimstone"
Pen for swine
Kimball Young
Jest
Elena in "Fire Over England" :
init.
Andra
Conrad
"Souls At "
Star of Broadway's "Stage Door" :
init.
January
Too
Provoke : Scot.
Bleats
Bone of the forearm
Wander
Barter
Forbodes
Door
" , My Darling Daughter"
Hero of "Gold Is Where You Find
It" : init.
Lotus in "The Good Earth"
Grafted : Her.
Section of an actor's part
Movie stage
Initials of Ginger Rogers' ex-hus-
band
Volume of maps
Male lead in "Everybody's Doing
It"
Little girl in "Love Is A Headache"
Herons
What Shirley Temple collects
Prefi-x signifying half
Sins
First name is Rudy
Feuding bandleader in "Love And
Hisses"
"Thin - - -"
Thrashes
Measure
Jeeters in "You're A Sweetheart"
Our heroine's hero in 80 Across
Den
Prefix : three
• Sea eagle
Birth state of Frances Langford :
abbr.
Col. Ferris in "Gold Is Where You
Find It" : init.
Indo-Chinese dialect
"- - hind The Mike"
• "H'm. You pups have got a bad rash all right. Don't know as I ever
saw anybody worse broken out... Oh, you feel fine, do you? . . .Wellf
you don^t look so good! You ought to see yourself in the mirror
• "Funny— your tail looks O.K. . . . By Jove, I see it all now! Your
mother'' s been stingy with the Johnson's Baby Powder — giving you
little dabs in the rear instead of good all-over rubs!"
• "Listen—stick around at balh-liine and gel in on my Johiistm^s ruh-
down. You'll feel like a different dog— so slick that rashes and chafes
and prickly heat can't get a toe-hold!"
• "Some poiv(]ers are hnrsh and scratchy— but Johnson^s is as soft as
an eider-down pillow. It keeps my skin just perfect . . Smooth, per-
fect skin is its own best protection against infections. Mothers. Guard
your baby's skin with Johnson's Baby Powder, the kind made of finest
imported talc— no orris-root . . , Baby needs Johnson's Baby Soap and
Baby Cream loo— and when tiny, Johnson's Baby Oil. It's safe and
soothing, stainless, and cannot turn rancid.
JOHNSON'S BABY POWOER
Copyright 1938, Johnaon & Johnson
89
MODERN SCREEN
WIVES TELL HUSBANDS-
Now millions know it's a better
laxative in every way!
EX-LAX now
SCIENTIFICALLY
IMPROVED
It's getting around . . . flashing from family
to family . . . from wife to husband . . .
from friend to friend. Ex-Lax, the laxative
they said could not be improved, now is better
than ever! Regardless of your experience with
other laxatives, you owe it to yourself to try
the new Scientifically Improved Ex-Lax. You'll
be in for a pleasant surprise!
TASTES BETTER THAN EVER!
Ex-Lax now has a smoother, richer choco-
late taste. You'll like it even better than before.
ACTS BETTER THAN EVER!
Ex-Lax is now even more effective. Empties
the bowels more thoroughly, more smoothly,
in less time than before.
MORE GENTLE THAN EVER!
Ex-Lax is today so remarkably gentle that,
except for the relief you enjoy, you scarcely
realize you have taken a laxative.
• • •
All druggists note have the neie Scientifically
Improved Ex-Lax in 10c and 25c sizes. The
famous little blue box is the same as always —
hut the contents are better than ever! Try itt
^ Indispensable forEveningWear
Now is the time for romance!
Dances — parties — dates! You
simply must keep your skin
alluringly lovely all evening.
Use as a powder base or com-
plete make-up. Suitable for
face, back, neck, and arms.
Will not rub off or streak.
Stays on for hours. Shades:
peach, rachel, brunette, suntan.
50^ at all leading drug and
department stores. Trial size at
all lOi counters, or mail coupon.
i [MlNER'Sr40Bi?lo'5T?,~N7Y7c.""'""
i I Enclosed find lOc (stamps or coin) for]
■trial bottle Miner's Liquid Make-Up. f
I NAME !
I I ADDRESS.___ Shade {
90
Priscilla Lane has chosen these
smart navy gabardine pumps
with dotted patent trim to wear
with her first Spring print frock.
SPRING SMARTNESS
(Continued from page 74)
which of these styles are most suitable for
her type and position, and decides just
what she is going to buy to make her en-
semble as perfect as possible. For one of
her best sources of inspiration she goes
to the movies and studies the styles worn
by the stars, because she knows that all
the ingenuity of the most talented design-
ers has gone into the creating of these
clothes which will be an important influ-
ence in future fashions worn the country
over.
Andrea Leeds, as the leading feminine
heart-interest in "The Goldwyn Follies,"
the little lady who makes good, is a typical
American girl and is dressed accordingly,
in good-looking, practical clothes that
really are wearable and within the reach
of the not-so-large clothes allowance.
ANDREA'S dark daytime dress with its
refreshing touches of white at the
neck and cuffs is the type of frock that
is recommended to the city girl, to the
girl who works in an office or store. Be-
cause the fabric is dark and simply woven,
particular attention has been given to the
lines and draping, which are especially
suited to a beautiful, youthful figure like
Andrea's. The skirt hangs straight and is
slightly gathered by the soft pleats in the
front. The treatment of waistline and
bodice is interesting, the midrifif being
snugly fitted, while the top of the dress
looks almost like a little bust-length jacket,
buttoning with four small buttons.
The crisp white collar with its perky
bow and the white cuffs on the set-in
puffed sleeves give that freshly-tubbed look
that is so essential to a well-groomed ap-
pearance. The ensemble is completed with
accessories consisting of calf pumps
trimmed with little leather bows, calf
purse, doeskin gloves. Andrea's off-the-
face bonnet gives her a very wide-eyed
look, don't you think?
You young things who love to dance,
and who go to lots of parties, will find
them even inore enjoyable if you look for
a frock like Andrea's charmingly shaded
pastel triple sheer, worn over a rustling
taffeta slip. The huge "pouff" sleeves are
an attractive feature, as is the wide skirt
whose hemline is made to stand out bell-
like with a two-toned banding of heavy
corded silk ribbon. The white collar is of
the same material as this band. A narrow
sash from the sides ties in a tiny bow in
back. The tightly-fitting waist is closed at
the back with a row of small buttons lead-
ing up to the modest slit, which reaches to
the neckline. Springtime is Prom time,
and the gay young "prom trotter" will find
a light dance frock like this invaluable.
Another of Andrea Leeds' costumes
which I hope you will notice particularly
is her two-piece wool suit. The straight
pencil line is the most popular for suits of
all types this spring. Andrea's skirt is
slim and straight, as is her full-length
coat. Smart details of this season are seen
m the huge patch pockets, the straight
sleeves, slightly puffed shoulders and the
extra-wide high notched lapels of the coat.
She seems to like off-the-face hats, for this
one too is a simple up-in-the- front down-
in-the-back model. You'll get lots of wear
out of a two-piece suit like this one, with
a long or three-quarter coat that can be
worn over your spring prints as well. You
can wear a soft silk blouse with it, as
Andrea does, or one of your sweaters for
spectator sports occasions.
CUITS have always held an important
^ place in spring fashions, and this year
they're being given more attention than
ever before. In fact, a suit is practically
a "must" for your spring wardrobe.
With your tailored suit, I would suggest
that you wear a low-heeled style of shoe,
such as the one Rosemary Lane has chosen
for her personal wardrobe. These tan calf
high-front sandals with the new punch trim
on the vamps are practical as well as smart,
comfortable to walk in, and easy to look
at. Your spring prints, on the other hand,
call for a "dressier" shoe, something like
the blue gabardine pumps shown above that
Rosemary's sister, Priscilla, selected.
These have a higher heel, but are equally
as comfortable as Rosemary's sandals. The
dotted patent leather trim is a smart spring
detail. If you would like to have the very
same shoes worn my Rosemary and Pris-
cilla Lane to wear with your tailored suit
and spring prints, just write to me for the
name of the nearest store that carries them,
for both these styles are sold throughout
the country. A penny postcard addressed to
Ann Wills, Modern Screen, 149 Madison
Avenue, New York City, will bring you
a speedy answer.
Gracie Allen and George Burns
in "College Swing" talk it over
and decide how they're going
to improve education.
MODERN SCREEN
GOOD NEWS
(Continued from page 66)
Marriage Expensive
There's one man in Hollywood who
doesn't believe that a gal can mix marriage
and career successtully. It's Harold Lloyd
who's put Phyllis Welch — his new leading
lady — under a contract that stipulates she'll
lose $6,000 if she marries or becomes en-
gaged within the next six months. And
Harold's the one real authority on the sub-
ject— for proof look at his own marriage with
his former leading lady who gave up all
thoughts of the screen when she said her I
do's.
Franciska Gaal, who made such an
auspicious debut in "The Buccaneer," ar-
rived in Hollywood from Budapest without
a word of English to her credit. The studio
hired an English tutor for the actress
immediately, and after three weeks of study
with him, Franciska was called for a con-
ference at the studio to talk over her forth-
coming role. She understood hardly a word
spoken to her, until a producer asked her
in Hungarian if there was something wrong
with her tutor. "Not a thing!" Franciska
assured him in her native tongue, "Only —
only we liked each other so much, and
had so much to talk about, that — well, he
learned Hungarian."
His Knee Was Sharp
Making movies is really an unromantic
business — as was evidenced on the "Blue-
beard's Eighth Wife" set. For a scene.
Claudette Colbert had to sit on Gary Cooper's
knee. And this she did for almost five hours
before the director was satisfied with the
scene. Claudette didn't mind for she was
comfortable — after the first hour. At that
time she excused herself, and returned car-
rying a small pillow. "Hope you don't mind,
Gary," she smiled, "but the knees are a bit
sharp." "Perfectly all right," said Gary
agreeably, settling the pillow and Claudette
again on his knee, "you're a bit on the
sharp side yourself."
Want to know who's boss around thp
Claudette Colbert- Joel Pressman menage?
It's the doctor who rules with an u on
hand, and here's the proof : When the two
of them left for Europe recently, Claudette
wanted to take her dog, Smoky, along as
far as New York. The doctor said no, and
Smoky stayed home, probably thinking
bitterly of the good old days, when
Claudette was single and a soft touch for
a dog with nice manners and a way about
him.
You Never Can Tell
Two examples of the unpredictable ways
of children, even in Hollywood: The Bing
Crosbys, expecting a girl, had the nursery
entirely done over in pink. You know what
happened. George Burns and Gracie Allen
spent a week selecting expensive toys to
make young Ronnie's Christmas a happy
one. After Ronnie had opened them all, the
item he liked best was a piece of red cello-
phane wrapping.
• Lithograph by Robert Ricgs for Haw viian Pineapple Co., Ltd.
Enjoy the refreshing flavor Hawaii gives
Dole Pineapple Juice ... so ideally pro-
tected by the exclusive Dole Fast-Seal
Vacuum-Packing Process.
Hawaiian Pineapple Co., Ltd., also packers of "Dole Pineapple
Gems," Sliced, Crushed, Tidbits, and the new "Royal Spears."
Honolulu, Hawaii, U.S.A. Sales Offices: San Francisco, Gal.
91
MODERN SCREEN
To be different, Madcap Mabel
Todd of "Hollywood Hotel"
chews chains instead of nails
when she's in a quandary.
"Take a memo, Mabel" brings
out that Todd industry and de-
termination. Watch out or that
pencil lead will snap!
Mabel is a study in concentra-
tion as she puts her all into her
knitting. She never drops ct
stitch. We believe it!
During Jolnn Barrymore's recent hegira
in New York, he submitted to a caricatur-
ist in Sardi's. When the sketch was finished
and handed to Barrymore for his signature,
he refused to sign until the artist removed
what he considered exaggerated jowls. The
artist erased the jowls, Barrymore signed
and left. The artist, an unscrupulous gent,
immediately replaced the jowls.
Freddie Bartholomew is a
man. On the "Kidnapped
ca'led for him to approach
and announce, "I am David
die removed the brace irom
stepped before the camera,
that brace on your uppers?
rector. "When I say 'I am
explained young Mr. B., "I
upper lip."
practical young
set, a scene
Warner Baxter
Balfour." Fred-
his lowers and
"What about
' asked the di-
David Balfour',"
don't move my
No Place Like Home
Robert Taylor now has his San Fernan-
do ranch-house completely finished and fur-
nished. "With the maximum of comfort
and the minimum of style," to quote Mr. T.
And that's^jojst 'about the truth. For there
are just four rooms in all — and all full of
furniture which has been specially built in
over-sizes. The result is hardly artistic,
but it's home to Bob. , ,
Wallace Beery and his wife and Carol Ann
are setting off any day now for that flying
trip through Europe. He wan't take his own
plane, though. He'll rent planes over there.
Carol Ann isn't in the least enthused about
the trip. Since playing that bit — that very
small bit — in "Bad Man of Brimstone" she
is convinced that leaving Hollywood at this
time is sheer folly.
That's Vengeance!
A year ago Helen Broderick tried to
peddle her son, Broderick Crawford, to
RKO for $250 a week, but the studio turned
him down. Now a hit on Broadway in "Of
Mice and A'len," Crawford will probably
receive flattering film offers when the play
closes, but mama has made him promise he
won't sign with RKO. If no one else offers
him a job. Miss B., insists she'll pay him
$250 a week herself.
92
Now that Bill Powell has finished "The
Baroness and the Butler" with Annabella, he
is seldom seen around the town's night spots
— or even around the town. Once one of
the gayest of the local cavaliers, he now
plans to spend most of his time between pic-
tures out of the city. He can stand Holly-
wood without Jean Harlow — just so long al
a time.
She Got Sympathy
During the recent trial over the custody
of her adopted son, Barbara Stanwyck suf-
fered some humiliation, but she certainly
lost no prestige. Frank Fay, many believe,
used the trial for publicity purposes. Since
the trial, Miss Stanwyck has received over
7,000 letters commending her for the hon-
esty and sincerity she displayed during the
unfortunate ordeal.
Carole Lombard's gambling instincts went
wild the other day and she let herself go
to the extent of taking a chance on one of
those "name" punchboards. The name
Carole punched was Pansy. And we regret
to report that Pansy didn't do a thing for her
sponsor.
He Wants Dough
The most determined riding Gene Autry
ever did happened the day he rode out of
Republic studio and threatened to keep
riding until his contract was adjusted.
Gene makes six pictures a year, and re-
ceives approximately $6,000 per picture.
Considering the fact that he's Number One
Cowboy these days, Autry feels the studio
should share a bit more of the profits. Win-
ning the finest gal in all the West six times
a year is all right, but a guy has to be
able to support her.
And So Goodbye
About to leave for New York recently.
Elizabeth Patterson dropped into the office of
a Paramount executive to say goodbye.
"But," said the guy, "you can't leave.
There's a picture listed for you on the
schedule sheet." Elizabeth doubted it, so he
handed her the sheet for inspection. What
it said was: Elizabeth Patterson — LEAVE OF
ABSENCE.
Retakes on "Having Wonderful Time,"
the Ginger Rogers-Doug Fairbanks, Jr.,
picture, were ordered because producers felt
that Boy didn't meet Girl soon enough. So
Ginger and Doug slapped on the grease-
paint and went back to meet each other
again — but sooner. Which reminds us of a
standing rule for scenarists at Columbia
studios. Boy must meet Girl by page 22.
or the script is tossed out.
Highbrow Reading
At a newsstand on Hollywood Boulevard,
a dignified and very British looking gentle-
man in tweeds and monocle thumbs through
the racy picture magazines, puts them back
on their piles and buys a pulp detective
magazine. Reason this is reported is that
the tweedy gentleman was George Arliss.
Lady in Distress
While Doug, Sr., and his wife were
away, Doug, Jr., lived in their house at
Santa Monica beach. It's next door to
Norma Shearer's home. Of course they
knew each other, but imagine Doug's sur-
prise to be wakened one morning about one
o'clock by his butler. "Miss Shearer's at
the door. Wants to see you right away."
Seems that Norma had come home, opened
the front door and found the hall flooded
with almost a foot of water. Being a girl
of ingenuity. Norma picke.d , up, her long
party dress skirts, knotted them around her
waist, and climbed over, "the fence to her
neighbor's yard. There' she called the
plumber who had the. burst pipe all fixed
up, the hall drained, out and everything in
apple-pie order before the Shearer servants
or children had a chance to be alarmed.
Just a Doodler
Monumental news from a studio press re-
lease: "Fanciest doodler in Hollywood is
Fred MacMurray, star of 'Cocoanut Grove.'
The actor took a course in show card writ-
ing once, and therefore doodles by making
neatly formed block letters instead of the
aimless curly-cues scrawled by most peo-
ple." Let that be a lesson to all of us. Aim-
less doodling must go!
The girls who have been working with
Deanna Durbin in the boarding-school
scenes in "Mad About Music" have had the
i
MODERN SCREEN
A constant companion of Ty-
rone Power is his dog, Pickel.
A mongrel, but Ty likes him.
time of their lives. For all during the pic-
ture, there have been parties given by di-
rectors, producers and actors for the girls.
Elizabeth Risdon finished up the picture
with a dinner-party at a big hotel.^ There
was fried chicken, and not a fork in sight.
But that wasn't the best thing about the
dinner — it was that Arthur Treacher
donned his best butling outfit and man-
ners and served them in the height of cellu-
loid style. And if you know anything at
all about butlers, celluloid or otherwise,
you know that Mr. Treacher is the absolute
tops ! Needless to say, he was one of the
most popular guests present.
Secret's Out
Marjorie Weaver, who caused a Hurry in
"Second Honeymoon", caused another one
when she denied having stolen off to In-
diana to become the bride of a naval lieu-
tenant. However, the Indiana records prove
she is now Mrs. Kenneth Schacht (pro-
nounced Shock). But the most interesting
angle of the thing is that Marjorie flew East
on a pass obtained for her by a local gentle-
man friend, to whom the secret wedding
was, to put it mildly, something of a Shock
(pronounced Schacht.)
■ ■ B
When Franchot Tone arrived back in
Hollywood after spending the greater part
of his vacation in New York without the
Little Woman, none other than Joan her-
self met him at the train, thus spiking
those rumors of a separation that flew all
over the place while he's been away.
Whether or not it's all sweetness and light
with Mr. and Mrs. . Tone, they always
manage to act pretty for their public.
Chip on His Shoulder
Bing Crosby's eldest son, Gary, has very
definite ideas as to his attitude toward the
new baby. When the youngest member of
the clan was brought home from the hospi-
tal, Bing wanted to know what Gary
thought of him. "I'll tell you one thing,"
Gary declared in no uncertain terms, "I'm
going to be meaner to this guy than I was
to the twins." It seems young Gary had
his heart all set on a baby sister and he's
that put out about it all.
■ ■ ■
The night of the "Goldwyn Follies" pre-
view brought out everybody in Hollywood,
it would seem. In fact, the lobby of the
theatre was almost as star-studded as
though it were an opening night. Andrea
Leeds and Edgar Bergen arrived together
with Charlie McCarthy sitting between
them in the front seat of a baby Austin.
Alfred Vanderbilt and Margaret Lindsay
and Loretta Young and Jock Whitney made
up a foresome while Jon Hall escorted
Gertrude Niesen. Rudy Vallee made his
entrance via the back door while Gloria
Youngblood went in the front, but it was
all right because they got together inside.
They still seem to prefer each other.
{Continued on page 103)
Mickey Rooney and Frankie
Darro rest between halves of
a charity foc'tball game.
ON THE MOVIE LOTS IT'S
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when needed, rather than stored at fat.
Active people need energy every day —
Baby Ruth is their candy.
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93
MODERN SCREEN
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TRICKS OF THE BEADTY GAME
{Continued from page 49)
get has to do with bust'r trouble. "How
can I develop, firm or otherwise improve
rny frontal contours?" That's a pet ques-
tion, and just about the hardest one to
answer honestly. For, truthfully speak-
mg, you cannot regain the contours of
Venus or who-have-you when the muscles
have started to sag. You can improve
matters and here is an exercise which
IS swell, backed up with a good uplift
bra. If you have bozzom trouble, do not,
I beg of you, wear the all-in-one type
of foundation. No matter how excel-
lently cut in other respects, there is a slight
downward pull. Wear a girdle and separate
bra. But the exercise — the exercise:
Sit on a backless chair or stool. Take
a stick in your hands. Hands should be
a little more than shoulder width apart.
Rest the stick across your knees to start.
Now bring the stick up over your head,
arms straight, and at the same time, bring
your legs up to right angle position with
your body, knees stiff. Do it slowly. Now,
legs still at right angle position, bring the
stick down behind your head until it rests
on your shoulders. Take two great big
deep breaths in this position, and return
to the start. The arm business is easy, but
you must feel the pull in the chest muscles.
The leg business is just to make things
harder — to encourage proper balance and
posture of the whole body, in other words.
Enough about the body beautiful for
now. You know, if you work at it, you
can have a figure as lovely as Jean Park-
er's and that's the tops ! Here are some
tips on types of hair, too.
Have you decided, as so many are doing,
to let your hair grow? And is it just about
getting you down, so that you think you'll
go and have it whacked off again? Per-
haps this notion may make life easier
while you're making up your mind. H your
hair is thick, and getting longish, and
awfully hard to do up on curlers and
things, get a hunk of electrician's wire. It's
sturdy, but nice and pliable. That's some-
thing of a contradiction in terms, ain't it,
but you know what I mean. Use it to
make that neat roll at the back which, in
spite of what is said about hair going up,
is still a practical solution of the hair
problem for every day. You can spread
the hair out more across the back of the
head with this beauty aid purloined from
the hardware store. You can use it, too,
to make a soft roll curl.
I know a girl who brushes the daylights
out of her medium-brown hair every day,
wears it parted in the middle and absolutely
straight on top — and does it shine, with all
that brushing — and she has this single roll
curl slanting from a just-below-the-ear
length at the sides to that little bone which
you can find at the base of your neck.
Nobody seems ever to pay any attention
to the girl with the too-curly hair — the
kind that is next door to frizzy. I asked
a good hairdresser about this problem, and
he asked had I ever heard of the de-per-
manenting niachine? Seems this will
straighten hair some. I asked was it effi-
cient and practical and he said, "We-e-ell,
you have to keep right after it all the time
and have professional hair sets once a
week."^ Ennyhoo, I pass the information
along if there is anybody in the audience
who would be interested.
Miriam Hopkins, y'know, has exceed-
ingly curly hair, though not frizzy, and in
her latest picture, she had to wear an al-
most straight hairdo. Just a little soft
curl on the ends was all the script allowed
her. They gently brushed quite a lot of
brilliantine into her hair, then ironed it
down, also gently, with a stone cold curling
iron, turning up the ends just the slightest
bit. Another solution of the too-curly hair
problem is to saturate it with plentv of
waveset, push in waterwave combs at
strategic points — very wide apart— and to
let the combs stay in until the hair is ab-
solutely dry, and then not to comb the
hair out at all. The ends of the hair
look well turned into soft ringlets, or
better still, cut rather short, and swirled
to one side or the other.
This type of hair, too, will go up on top
of the bean easily, since its tight curl
gives it so much body and staying power.
But if you decide on this type of coiffure,
take your troubles to a professional hair-
dresser, have him or her cut and set your
hair in a definite hairdo and return" for
a profesional set every ten days.
Speaking of cold curling irons, two
handsome Hollywood blondes swear by this
method of hair-beautifving— Carole Lom-
bard and Madeleine Carroll. When Carole
wants a rather definite curl, she uses a
warm — not a hot iron. For the familiar
Lombard bob, she uses the cold iron. Made-
leine has a set every now and then, and
keeps it looking nice by going over it with
the cold iron.
/^NE of our most delightful newcomers
^ and seekers after stardom is Andrea
Leeds. It was while she was doing a
brief bit in "Come And Get It" some
months ago that I met her, and I couldn't
help noticing her eyelashes. "What, no
false fringe?" I asked. She was as
pleased as punch with the implied compli-
Aiter making "I'll Take hc-
mance", Grace Moore and her
husband, Valentin Parera, re-
turned to New York.
94
MODERN SCREEN
ment, and said that when she was in her
early teens, her lashes were thick enough,
but so short they were completely lacking
in glamor and she began putting dark
eyelash grower on them, every single night
of her life. She's still doing it, and the
Leeds blinkers are unbelievably silky. The
stimulation of creamy eyelash grower, as
I've said time and again, will make lashes
look more luxuriant than they are.
What else did I want to tell you about?
Oh, yes. Have you ever noticed Luise
Rainer's mouth? And Bette Davis' mouth?
Both ladies' rosy lips are rounded at the
corners. I was thinking, if you were dis-
satisfied with the shape of your moiiche,
and can't successfully improve it by the
fashionable method of widening it at the
bow, howz about getting a small artist's
paint brush and practicing on the corners.
You need a soft paste rouge to do this.
Or you can scoop a hunk of your favorite
lipstick out of its socket, for an experi-
ment, and mix it up with a little tissue
cream or vaseline. Be pretty sure of your-
self before you barge out into the the wait-
ing world with this innovation.
Do your ears stick out ? Do you know
what the male movie actors do, who are
similarly afifected — all except Mr. Gable,
who just doesn't give a damn. They tape
them back with adhesive tane.
Have you a slide-away chin? Put rouge
right on the point of it, blending it in, of
course.
Are you troubled with mean little hairs
on your face, where the skin is too tender
to use a dipilatory? Try bleaching them
with a solution of peroxide and household
ammonia. Use one part ammonia to ten
parts peroxide, gradually increasing the
strength until you have equal parts of each
ingredient. When the hairs are pretty much
bleached and dry, rub the spot gently with
a pumice stone. Gradually, the peroxide
and ammonia will weaken the annoying
hairs and the rubbing with the pumice will
break the hairs of¥, and pretty soon you'll
only have to do a little dabbing with per-
oxide now and then to cope with this
troublesome problem.
If the skin becomes irritated while the
treatment is in process, stop for a couple
of days, and apply a nourishing cream to
the spots. No, Annabella — cream does not
stirnulate the growth of hair on the face.
If it did, why wouldn't all the bald-
headed men be using it, huh? The above
home-made depillating process, by the
way, isn't good for arms or legs. Use a
regular depilatory there.
DO you want to add at least sixty per-
cent to your charm and sex appeal?
Then use perfume in the right way. I know
— I know, you can't afford the best, so
you'll not have any. But have you paid
a visit to the perfume counter of your
local five-and-dime recently? Have yuh
seen the tiny little vials of very expensive
perfume done up for ten cents? Only a
drop or two of the precious fluid is con-
tained in these vials, but that's all you
need. Put it on furs whenever possible.
On the lining of your best hat. On two
thicknesses of flannel, sewn together, and
sew the flannel to your dress.
Buy, also, the small flacons of toilet
water. Find out about that scented paste
which one rubs into the lining of bureau
drawers. This is more expensive, but the
scent lasts a whole year, on my honor,
and smells up the lingerie, hankies, gloves
and everything too booful for words. Take
an atomizer and spritz perfume on your
hair. Put it at the base of your neck, be-
hind your ears, and on the palms of your
hands if you can afford to put it where it
must soon be scrubbed off. But don't put
it on handkerchiefs or directly on your
dresses — that ain't the way.
The cream Hollywood stars use
stays germ -free, helps guard skin
from germ -infection and blemish
Here's how the younger stars of Holly-
wood keep their complexions exquis-
itely clear. First, plenty of rest and a well-
balanced diet. Second, external skin care
with Woodbury's Germ-free Cold Cream.
Care for your skin with Woodbury's
Cold Cream, and soon you'll be on the way
Woodbury^
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to a "Camera Skin" as lovely as the stars'.
Woodbury's Cold Cream is germ-free. It
discourages germ-growth, thus helps pre-
vent ugly blemishes. And because it
contains skin -stimulating Vitamin D,
Woodbury's urges the skin to breathe
quickly, to stay alive and vital.
Follow Rochelle Hudson's two simple
paths to beauty. Nourishing foods; and
daily skin care with Woodbury's Cold
Cream. 1.00, 50^, 25?;, lOfS.
{Helps guard from blemishes
Cleanses the pores thoroughly
Stimulates — Contains Vitamin
Overcomes dry skin
"I
ROCHELLE HUDSON with
Robert Kent in the 20th Cen-
tury-Fox picture "Mr. Moto
Takes a Chance". She says:
"Woodbury's Cold Cream
keeps my skin free of blem-
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Send for Trial Tubes of Woodbury's Creams
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(In Canada) John H. Woodbury, Ltd., Perth, Ontario
Please send me trial tubes of Woodbury's Cold and
Facial Creams; guest-size Woodbury's Facial Soap; 7
shades of Woodbury's Facial Powder. I enclose 10c to
cover mailing costs.
Name-
Address-
95
MODERN SCREEN
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96
WHAT HAVE THEY-IHAT YOD HAVEN'T?
(Continued from page 45)
knows enough to make the most of her
opportunities. Going to schools in Mar-
seilles, Madagascar, Budapest and Berlin,
topped off with a session at art school in
Paris gave the little Simone rare oppor-
tunities to observe people. She is always
watching, making sly sketches of people
that show how deftly she can indicate
character in the turn of a head, the clutch
of a hand.
The chief advantage of study for a
screen star, Carole Lombard told me long
ago, is that it teaches you to concentrate.
Carole's formal education was a bit
sketchy, but during that pain-wracked
year when she was bedridden following an
automobile accident, Carole read the son-
nets and plays of Shakespeare. She read
them with such intentness that without
realizing what she was doing, she memor-
ized long passages. So great was her con-
centration that she forgot her pain. Her
roles nowadays are a far cry from the
classics, but the concentration comes in
handy. You can't let your mind wander
when you are in front of the camera.
Let's assume that you have the grit and
determination and curiosity to make you
study all the time. What else do you need?
Well, how are you on bounce ? When
Fate kicks you around, delivering one
staggering blow after another to your
pride, do you cringe and expect defeat,
or do you live up to that Astaire gem that
counselled "Pick yourself up, dust your-
self of¥, and start all over again?"
IF ANY girl ever got ahead in pictures
without heartbreaking disappointments,
I never heard of her. Most girls you
idolize are like rubber balls. The harder
they are thrown down, the higher they
bounce.
"But actresses must be sensitive," I can
hear you saying.
Quite right. They must be responsive in
order to project emotions, but they cannot
allow themselves the extravagance of a
trace of self pity. It isn't the emotions
you feel, but what you can make others
feel that make you a skilled actress. The
fact that you cried all night after an old
friend snubbed you, does not mean that you
have the makings of a tragedy queen.
When Bette Davis was thrown over by
her iirst love, she settled down to work
harder than ever. But often in pictures,
by a mere shrug of her shoulders she has
made you feel the impact of frustration,
defeat.
How truthful are you to yourself? How
about that double-rich chocolate malted
you sneaked yesterday after your dieter's
lunch of green salad and tea? And how
about those towering-heeled pumps, a size
too small, that you bought because they
made your feet look cute? And as long
as we're being mean about it, how about
that habit of swinging your foot that you
have always meant to stop, but just
haven't ?
The motion picture camera never goes
in for day dreams. It tells the brutal truth.
All your resolutions to carry out the
beauty regime so wisely advised by Mary
Marshall, all your determination to shed
nervous habits, to have a more radiant
and interested outlook on life wouldn't
show on the screen. Only what you have
accomplished can be caught by the camera.
Can you take criticism, or does it crush
you?
Perhaps the toughest problem our screen
favorites have solved for themselves is how
to remain sensitive to constructive criti-
cism and yet be unaffected by malicious
attacks. If Rosalind Russell had taken it
to heart when directors said that they
would rather direct any instinctively-emo-
tional little gutter-snipe than a blueblooded
clam, she would not be in pictures today.
Instead of shrinking from the directors
who found her too coolly intelligent, she
just gave them every chance to see how
vivacious, how spirited she really is.
Simone Simon probably wished that she
had never learned to understand English
when the hammer-throwing brigade con-
centrated on her. Everyone granted that
she was cunning as can be, a childish face
with a Circe's seductiveness, but see her
once and you have seen all, they insisted.
Simone did not discard the provocative
pout that is practically her trade-mark, but
she is concentrating on study of a wide
range of roles, comic and tragic, and on
developing her singing voice. Say what
you will about her today, she is deter-
mined to impress you by her versatility
tomorrow.
Because Virginia Bruce has the most
beautifully-serene manner, and because
Carole Lombard was always so happy-go-
lucky, they had "Just a dumb iDlonde"
hurled at them from all sides. And Bette
Davis, incredible as it may seem, was
criticized for being limp and colorless.
Somewhere, tucked away in the most
caustic criticism by people jealous of you,
there may be a grain of truth. Look for
it, don't just get riled and think up a crack
to hurl , back at them. The girls who get
ahead in pictures are the ones who have
learned to confound their critics by say-
ing, "If what you say is true, perhaps you
can suggest something that I can do to
get over it."
If I haven't asked too much of you al-
Martha Raye gives first aici to
those tired tootsies.
MODERN SCREEN
"FERRETS OF FRESHNESS"... Paramount's talent scouts, Boris Kaplan and Edward Blatt
They spend Fortunes
to find
FRESH FACES
O.G.spends Fortunes to give you
ready, how is your confidence? I don't
mean conceit, which is no more like con-
fidence than tinsel is like silver, I mean
assurance that makes it possible for you
to ask for opportunities with the knowl-
edge that you have done everything to
train yourself to make the most of them.
I am asking if you have convictions about
yourself that are so strong that nothing
that could happen to you could alter them.
How would you feel at the end of a year
like Bette Davis' first, in Hollywood?
Could you keep going confidently after all
the producers at Universal said you could
act but were a colorless little wren that
no one would ever notice? Could you,
like Carole Lombard, slam your hat rak-
ishly on your head, say, "Never let^k be
said' that Lombard was a bad loser," and
go off to another studio bright as paint
when a producer told you he was afraid
to risk you in a leading role?
Maybe you could stand all that, and if
you can I am proud of you, but how is
your patience? After you had played a
scene, getting the feel- of it just right,
and knowing that you could never_ feel so
inspired again,, could you repeat it ten —
twenty — fifty times, one right after an-
other ?
I promised you a game of truth a while
ago, and now is a good time to play it.
Get five or six other attractive girls to
play it with you and promise me that you
will be absolutely ruthless with yourself
and them. You would have to take ruth-
lessness in Hollywood, not from selected
friends, but from strange producers, di-
rectors, costumers, make-up experts, news-
paper critics and candid cameramen. Play-
ers don't live in a goldfish bowl in Holly-
wood. They live under a magnifying glass.
Now for our truth game. Write the
names of the actresses I have been telling
you about down on slips of paper, and in
another column write your name and
those of your fellow players. Allowing
yourself only a minute or so, write down
the word that immediately occurs to you
as you glance at each name.
Here is the result from a playwright I
just sprang it on, Rosalind Russell, pedi-
gree ; Virginia Bruce, compassion ; Si-
mone Simon, cunning; Bette Davis, gusto;
Carole Lombard, sportsmanship. All very
definite qualities, aren't they? Next I gave
him the names of five young girls we
know who are trying to get on the stage
or in pictures and he wrote down, "Brittle,
shy, vague, dissatisfied, and rebellious."
Those girls have a lot of work to do on
themselves, haven't they?
But suppose that you are a girl who
makes a knockout impression the minute
people meet you. Suppose you are the
good little girl who eats her spinach and
does her lessons, doesn't let failure get
her down and looks herself straight in
the mirror. Suppose you have endless de-
termination, too, and you still aren't up
with Bette and Rosalind and Simone in
the marquee lights. And you aren't even
doing too well on dates, to be candid
about it.
Did anyone ever tell you that you are
just like any of these girls we have been
talking about — or like Janet Gaynor or
Myrna Loy or any other favorite?
There's your answer.
Headliners are the one and only orig-
inal of their kind. You just have to be
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Get your copy early!
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HOW TO BE RODE POLITELY
{Continued from page 35)
the train. If we missed it, there wasn't
another along for an hour. It iinally
reached such fantastic proportions that we
might have been seen by anyone who cared
to look, and some did, skithering down the
main street, hats and shoes and neckties
draped over our arms. We always made
it, though sometimes by a single iinger,
and would dangle from the car-step, thumb-
ing our noses at the clock and feeling very
pleased with ourselves.
"But that's being rudely rude, isn't it?
However, I doubt if the clock minded. A
clock, the one thing I should like to insult,
seems singularly insensitive to insult.
Where was I? At my morning grouch,
I believe. Well, it begins when Theodore,
the butler, calls me and says: 'It's seven
o'clock, Mr. Powell.' Here we have a
strange interlude. 'Shut up,' says my inner
self. 'Never speak to me again. You're
fired,' says my inner self. 'Chirp, chirp,
tweet, tweet,' says my mouth, and I hang up.
"Then he pops in with the orange juice,
all beaming and bright. Which in itself
constitutes a grievance. 'What's he looking
so cheerful about?'
"En route to the studio, I work up a
fine new series of hates. For traffic signals,
for pedestrians who insist on crossing the
street, for other cars that presume to use
the public_ highways. I scorch them with
I silent vitriol, which so relieves me that , I
am able to pause respectfully at traffic
lights, to beam at pedestrians, to slink from
the path of every horn that honks.
"And so I arrive. The gateman who is
required to check me in says : 'Good morn-
ing, Mr. Powell,' which is fine, makes me
feel he likes me, we're friends, fellow-
workers, comrades and all that, two poor
dubs who have to get up in the morning.
I love that gateman, till he looks at the
clock. Then my brotherly sentiments melt
away. He becomes an enemy. I'm morally
certain he's giving me none the best of it.
I resent his audacity in looking at the
clock at all. My impulse is to pop him one
on the nose. I smother that impulse, look
at the clock myself, and ask him the time.
Inwardly I'm saying: 'Dare to cheat me
by so much as a second, you so-and-so.' If
it's six to nine and he calls out five to nine,
I say thank you and depart, hurling silent
anathema. If it's four to nine and he calls
out five to nine, I say thank you and de-
part in adoration. I reach the set, ready
to outglare any glarers, discover that no one
pays the least attention to me, that, in fact,
I'm on time. A mantle of peace descends.
My bout of morning rudeness is concluded."
"What about afternoon and evening
rudeness ?" "I'm giving a practical demon-
stration now," he replied, slightly craning
his neck from which he had just removed
his stiff collar. "It's manners out of joint
to remove your collar in the presence of a
lady. Yet I am one who chafes at bonds.
Both my soul and my throat crave freedom.
Hence, I take you into my confidence. I
disarm you with frankness. I implore you
to understand that this is no affront to
Evelyn Brent and Anthony Quinn enjoy a cup ot cotiee between
scenes of "Highway Racketeers." They're sure to get the right cup!
MODERN SCREEN
etiquette, but a passion for wide-open spaces.
I say, in effect: 'With collar, I interview
badly. Without, I'm not so hot,' no pun
intended, but I manage. I attempt to take
the curse from rudeness by offering cosiness
instead. Let's take down our back hair,
that's the general idea. I _ can bare my
heart better when my neck is bare."
I inquired as to his procedure with auto-
graph hunters. "Now that's really a. prob-
lem," he said, "and I mean it seriously.
I'm genuinely grateful to people who are
good enough to like me. Only a pig
wouldn't be. But there is also the instinct
for self-preservation, not to mention the
preservation of one's outer garments. When
they come singly, I can handle them. When
they come in numbers, I surrender the
reins to a better man than I am, usually
a member of our glorious publicity depart-
ment, and let him take the i-ap.
"And that reminds me. We may as well
get the topic of interviews off our chests.
I'm sometimes asked to give them at lunch-
time. I'm rude enough to refuse. And
here we have another method of being rude
politely — what is known as the transfer
method. I don't enjoy giving interviews at
lunchtime. They'll tell you round here that
I sleep niy lunchtime away. That's a
canard. I use the time to gird up on my
lines, excuse it, please, for the afternoon.
But I can hardly use that as an excuse not
to lunch with the press. I'd be told to gird
up my lines the night before.
"Therefore I persuade you, I say to you
for the sake of euphony, dear, dear, there
I go again, you'd probably rather starve
than have lunch with me. I persuade you
then, the generic you, that you don't enjoy
getting interviews at lunchtime, thus re-
moving the onus from my shoulders ^ to
yours, and getting the reputation for being
a good fellow at the same time.
"Then there's another interview problem
to cope with. I am sometimes asked to
discourse on such topics as how I enjoy
being a midget, what it feels like to weigh
four hundred pounds, thoughts of a man of
twenty and so on. Now it happens^ that
I've never been a midget, never weighed
more than three hundred, and it's a year or
two since I passed the age of twenty.
"Now I might of course simply mention
these facts and bow my visitor out with
what grace I could muster. That would
be the logical course. It would also be
the obviously rude one. I've engaged to
spend an hour or two with the interviewer.
I feel I owe him that hour. So when he
asks me how I enjoy being a midget, I lean
back, become brightly animated and say :
'How do you?'
"This may lead anywhere on up to
giants, on down to fleas or on out to the
lunatic asylum. It once led to a brisk and
absorbing discussion on how it would feel
to be a midget, twenty years old and
weighing four hundred pounds. The point
isn't where it leads, only that it should
lead somewhere, to avoid the somewhat
embarrassing alternative of having two
people sit facing each other silently in a
small room for an hour, at the end of
which time they would rise, shake hands,
to indicate there was no hard feeling, and
separate.
"Possibilities there. You'd open a maga-
zine and instead of seeing printed words,
there would be a picture of me on one
side, the interviewer on the other, both
fish-eyed, and a lot of white space between.
How's that for an angle? No? One can
only offer his best. That's what I try to
do. The man may come in for a midget
story and depart with one on the high cost
of kilowatts. That doesn't matter. The
point is he's got a story. He's happy. I'm
happy. The studio's happy. And the goose
hangs high.
"By the way, have you got a story?"
A PUEEN OF HEARTS
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99
MODERN SCREEN
DEBUNKING DAVIS
{Continued from page 37)
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dog, they kick him. And they're right!"
All those who knew Bette Davis before
she climbed to fame agree that the under-
lying keynotes of her character were her
determination to become an actress and her
shyness. It is difficult for those who know
Bette today to grasp the fact that she was
painfully self-conscious, but it is true.
Che first got the idea of going on the
Y stage when she played the lead in one
of the school plays at Gushing Academy.
The principal of the school congratulated
her, saying, "I hope, my dear, you will
never think of taking up acting as a career."
That gave her the idea of doing just that.
At first she took dancing lessons with
Roshanara, but Frank Conroy encouraged
her to give up dancing and try to get
dramatic roles. Realizing that it would be
a wonderful thing for her if she could be
associated with Eva Le Gallienne even in
unimportant roles, Bette went to Miss Le
Gallienne and begged to be given a chance
to play in the Civic Repertory Theatre.
But she^ was so wretchedly nervous that
when Miss Le Gallienne asked her to read
some lines, she acquitted herself very badly.
It was then that Bette's mother, who
believes that people ought to be allowed to
follow the work they want to do in the
world instead of being forced into con-
formity, suggested to Bette that she attend
John Murray Anderson's dramatic school
in New York. Though Mr. Anderson
agreed to take her on as a student, she
impressed those who met her at the time
as very timid. _ "She was like something
the rain had whipped," one man who knew
her at the time said.
While she was attending dramatic school,
James Light of the Provincetown Players,
directed a school play, "The Famous Mrs.
Fair." He liked Bette's work so much
that he gave her a small part in a play the
Provincetown Players were producing.
No one who met Bette today could
possibly forget her. But in those days, it
was altogether dififerent.
"She- was such a charming girl," Blanche
Yurka told me, during a lull at a rehearsal
for a play. One of Bette Davis' early
roles on the stage was with Blanche
Yurka's company.
"You know," Miss Yurka said, "in those
days she was just an ingenue. The part she
played in 'The Wild Duck,' was that ot
Hedwig, a wide-eyed innocent young-
woman. Bette seemed eminently suited to
the part. She had such a soft face. I
never dreamed in those days that she would
play such roles as that of Mildred in 'Of
Human Bondage' or the girl in 'Dangerous'
or any of the vicious women she has since
created on the screen. I never watch her
that I do not marvel that the very quiet,
subdued girl I knew can play such roles."
Oscar Serlin was one of the few people
who saw the stamp of greatness on Bette.
One day he saw her playing at the Province-
town Playhouse in "The Earth Between,"
a bitter, tempestuous drama of a farmer's
unnatural love for his own daughter and
the unholy means he took to keep the man
who loved her away from her. With quiet
conviction, Bette played the daughter.
And because Serlin had an unerring
instinct for what makes greatness in the
theatre, he decided that one day he would
make use of her ability.
His chance came soon, when he decided
to produce "Broken Dishes" in New York.
Bette was very humble and very grate-
ful for this grand chance. But when
she began to rehearse the role, she sensed
an air of tension in the atmosphere. It
didn't take her long to guess what caused
It. Though Mr. Serlin believed in her,
there were other people associated with him
in the production of this play who did not
like to stake the play's success on a player
who had had so little experience as Bette.
One day Bette learned that she might lose
the role.
_ "Her reaction? It was a typical femin-
ine reaction. She burst into tears," Mr.
Serlin said, chuckling mildly.
For in those days Bette hadn't developed
that elaborate defense mechanism.
'^'Don't worry, Bette," Serlin told her.
"Everything will turn out all right."
And whenever his associates suggested
getting someone else for the role, he told
them that he was certain Bette could play
the part. She was excellent!
To Serlin she said, "I'll never forget
what you've done for me." And she hasn't.
One of the things that distinguishes Bette
from the Margaret Sullavans and the
Katharine Hepburns of Hollywood is the
simple, honest quality of her gratitude. I
was present once at a party which Bette
attended in New York, where she greeted
several press agents from the different com-
panies. Each of them was anxious to
remind her of how much his studio had
done for her. In her warm, enthusiastic
voice, she said to the man from RKO, "If
it were not for your company and for the
role I played in 'Of Human Bondage,' I'd
be on the streets today. Nobody would
want me."
Teddy Newton, who played the crippled
young man in the the New York produc-
tion of "Dead End," and who is one of
Bette Davis' best friends, said of her:
"During Bette's first year in Hollywood
she was very unhappy. As everyone
knows, she was put into roles for which
she was very badly suited. Bette realized
that if she kept on playing these roles her
career might be ruined. She made up her
mind to quit Hollywood."
About that time her sister Barbara be-
gan to suffer from a nervous breakdown
occasioned by overstudy. Money for doc-
tor bills was badly needed. So Bette,
jeopardizing her own career, stayed on
with lTni\ersal.
We give you a nifty pair of
blondes — Carole Lombard and
her Palomino gelding.
100
MODERN SCREEN
OSq
^^^^
^Oillness results in unflaftering shine. Dermafologists identify exces-
sive oiliness as Seborrhea. Germs aggravate this condition. Wood-
bury's Powder retards germ-growth, helps subdue nose shine.
"You see, it's this way," he explained.
"Bette, being a few years older than Bar-
bara, has taken care of her financially, it
was Bette who saw to it that when Barbara
was of college age, she had her chance
to go to college. Naturally, when Barbara
was ill Bette wanted to do everything she
could for her.
"As you might suspect, Barbara adores
Bette. Last summer when Barbara eloped
she chose Bette's wedding anniversary upon
which to have her wedding in order that
they might always have a double anni-
versary celebration.
BETTE is one of the kindest-hearted
human beings I have ever met. When
I first came to Hollywood a few years ago
I was horribly lonesome. Then I met
Bette and Harmon, and after that it was
impossible to be lonely. They invited me
to their home for week-ends, played goU
with me, and treated me in general as if
they'd known me all their lives."
Bette has given out very few inter-
views about her marriage, and a few of
the Hollywood writers have been cruel
and inaccurate in writing about it. I re-
member once how badly Bette was hurt
when a writer said that she was support-
ing her husband, and that every time he
bought her an orchid, he used her own
money to buy it for her.
Nothing could be further from the
truth. Shortly after Bette's marriage to
Harmon, they separated and he went to
New York just so that he could build up
a reputation for himself as a musician.
There were times in New York before
Harmon proved himself as a musician
when he was close to the verge of starva-
tion. Times when he was lucky if he had
a sandwich and a cup of coffee to sustain
him in that tiny, cold, hall bedroom.
Bette knew nothing of all this. Wild
horses wouldn't have dragged the informa-
tion from Harmon. It wasn't until Har-
mon had returned to Bette that a friend
told her the truth.
'Why didn't you tell me?" Bette asked
him. But all the time she knew in her
heart that if she had been in Harmon's
place, she would have done the sarne
thing. For these two mad, lovable chil-
dren are strangely akin. Both of them
have the same rigid New England con-
science, the same hot pride. Even the
crazy presents they give each other are
alike.
Bette once bought Harmon a toy orches-
tra with four little men holding musical
instruments made of wood. This toy was
kept constantly on Harmon's night table,
until one day Bette bought two pink ele-
phants with phosphorus pin-points for eyes.
Without Ham's knowing it, she took away
the toy orchestra and put the elephants
on the night table instead.
In the middle of the night Ham was
suddenly aware of those elephant eyes
blinking at him. He blinked right back.
The elephants didn't disappear. He knew
they had no right to be there, so he pre-
tended they weren't.
Next morning he said to Bette, "Listen,
darling, wait till I've really earned those
D. T.'s by drinking and then those pink
elephants will help to reform me," and he
and Bette burst into a great gale of laugh-
ter.
It's because of these things that people
who know her, feel like shaking Bette
when she gives out an interview telling
how hard-boiled and ruthless she is. Once
she admitted, "My bark is worse than
my bite. But I'm so constructed I can-
not feel like saying anything about my-
self by way of praise. I would feel like
a fool."
And so this story says it for her. It's
high time Bette Davis was exposed.
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101
MODERN SCREEN
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102
THESE PLAYERS SCARE THE STARS
We take off our liat to tliese talented picture
stealers. They have not yet achieved stardom
hut their fan-following rates them top notchers
Hugh Herbert
Frank Morgan
Alice Brady
Mischo Auer
Mabel Todd
Billie Burke
Ed. Everett Horton
Marie Wilson
John Beal
Stuart Erwin
Andrea Leeds
Wallace Ford
Edna May Oliver
MODERN SCREEN
Bonita Granville and Brian
Aherne go for ice cream loli-
pops in a big way between
scenes of "Merrily We Live."
GOOE NEWS
(Continued from page 93)
New Contract
Luise Rainer's new contract with M-G-M
is really an achievement. She's been hold-
ing out against making any more movies
until she was given permission to take five
months a year off to do a play in New York.
Metro, however, was scared of the idea after
the floppolas of so many Hollywood stars
on the New York stage. But perseverance
won in the end and Luise has the kind of
contract she wants and she's very happy,
thank you. Chances are she'll appear in a
play written for her by Hubby Clifford Odets.
■ ■ ■
Tyrone Power was so gloomy over being
detained on the "Marie Antoinette" set
i Continued on page 104)
Franciska Gaol (on right)
studies with her English lan-
guage coach as she must lose
her accent for "Never Say Die".
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103
MODERN SCREEN
LOVE
at First Sight
-H Illlllllillllll
Excite men's admiration
the Admiracion
way
• You can't blame men for preferring girls
with clean, soft, youthful hair — such qual-
ities enchant a man! So guard jo«rloveliness
with Admiracion — the new Oil shampoo
that is different from all others. Its rich,
creamy lather whisks away dirt, dandruff
and dulling film — rinses away completely
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manageable, alluringly beautiful. And re-
member, Admiracion does not dry nor age
your hair — leaves it fresher and younger!
At drug, department, 10^ stores.
Should you prefer an oil shampoo that
makes no lather, ask for Admiracion
Olive Oil Shampoo in the RED package.
nln new GREEN package ^
DmiRocion
FOAMY OIL SHAMPOO
'on't let chest colds or croupy coughs go
untreated. Rub Children's Musterole on
child's throat and chest at once. This milder
form of regular Musterole penetrates,
warms, and stimulates local circulation.
Floods the bronchial tubes with its soothing,
relieving vapors. Musterole brings relief
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CHILDREN'S
that Director Woody Van Dyke finally let
him oi¥ to bid a fond farewell to Janet
Gaynor, who attended the President's ball
in Washington. Yes, that romance is still
very much on.
Whimsical Dietrich
Are the gals burning over Marlene Die-
trich! Seems that she sent Gregory Ratoff
arsund the Troc the other night as a sort of
talent scout to ask the men she liked to
dance with her, a la command performance.
Leave it to Dietrich to think up the new
whims.
Francis Lederer and his bride, Margo,
are so in love that they refuse to be parted
even by' their careers. Mr. L. has had
several very flattering offers to go to Lon-
don and Paris for pictures but he has re-
fused to leave until Margo can go with
him. Therefore, if Guthrie McClintic's new
play goes into production with Margo in
the lead, Francis will stay right in New
York with her during the entire run, no
matter how many offers come his way.
Later, they'll go to Europe.
He Gets Around
How that Vanderbilt gent does get around!
We thought Margaret Lindsay was the lucky
gal at the present writing but just listen to
this: In a single week AUie has been seen
with Margaret Lindsay, Claire Dodd, Flor-
ence Rice and Beverly Roberts, who, though
last mentioned, seems to be iirst-favored
right this minute.
Mr. and Mrs. Claude Rains are now
Momma and Poppa and are they proud of
their new daughter ! Sir Stork is set to
pay visits to the Mervyn LeRoys and the
Dick Powells in the near future too, so it
looks like business will be picking up in
the baby departments of the shops around
town.
Big Hearted Hollywood
The benefit performance for Ted Healy's
widow and baby grossed twelve thousand
dollars. Everybody in Hollywood attended
and George lessel acted as master-of-cere-
MILD
Cesar Romero steps out in Hol-
lywood with his sister — and
right pretty she is, too.
Chief among the brave, sorely op-
pressed Saxons — and bravest of
all — was the dashing Robin of
Locksley. Robbing the rich to feed
the hungry — loyal to his sovereign
King . . . his name was echoed
from the depths of Sherwood forest
to the massive gates of Nottingham
Castle.
Come back with us through the
pages of history to merrie old Eng-
land. Read how the roguish Robin
won the heart of the fair Marian.
. . . How he led the courageous
Band of Sherwood Forest against
Norman tyrants.
Fascinatingly told, the immortal
tale of "Robin Hood" appears in
the April issue of
SCRECn
RomnncEs
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Keep lamp, radio, telephone
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104
MODERN SCREEN
Andy Devine looks a bit bored,
but Bee Lillie and Fanny Brice
look delighted — or is it shocked
— with what they eavesdrop.
monies for the occasion. All of which goes
to prove that Hollywood stands by its own
in times oi trouble.
There's a chance in Hollywood just
waiting for some lucky little orphan girl.
Remember Baby LeRoy? He was taken
from an orphanage to play the part of the
baby opposite Maurice Chevalier. Jack
Warner now has an idea of doing a repeat
on the LeRoy episode with an older child.
He has a story entitled "Little Lady Luck"
and local orphanages are being searched
with a fine tooth comb for the proper child
for the part. What a Cinderella, story it
will turn out to be for the lucky child!
Touring Africa
Dolores Del Rio and Hubby Cedric Gib-
bons have sailed for Europe. They will be
met on the other side by Mr. and Mrs. Gary
Cooper and from there the foursome will lour
South Africa. When Gary returns to Holly-
wood, he'll do "The Cowboy and the Lady."
None other than "Beauty and
Her Beasts" is Florence George.
You will see the former Chicago
opera singer in "College
Swing."
ARE YOU THE TYPE THAT'S
Let one of these 10 new face pow-
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How often have you admired the girl who can
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In every group there seems to be one whose
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But to do all this, and more, you must find
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For one certain color can breathe new life,
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r
MID-NIHTE SUN
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Fmd your one and only color!
I want you to see with your own eyes how
your lucky color can bring out your best
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success. That's why I offer to send you all
ten of Lady Esther's flattering face powder
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When they arrive, be sure to try all ten
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veil the dancing light in your hair and eyes
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I want to find my "lucky" shade of face powder. Please send me your 10 new shades
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Name^
Address -
City
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.J
105
MODERN SCREEN
■h
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4
BEAUTY SECRET
FROM SOCIETY AND SCREEN
TO MAKE
restore your
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BERNAOENE HAYES
says S^!! , hionde actress
60% OF ALL WOMEN WERE BORN BLONDE. . .
But time darkens and dulls any shade of hair!
Think! Does this mean you? Follow the advice of these
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106
Ati. DRUG AND DEPARTTVIENT STORES
IT'S KELLY TO YOD
(Conhnucd from page 50)
forgotten her stockings. She wore a yellow
sport suit with a black silk tailored waist.
A small jaunty feather poked up from her
coat lapel. The feather, being brown, failed
to blend with any part of the outfit. It
was a cute touch, but, like Patsy, pert,
careless and a little wrong.
Her hair, straight on top, frizzed at the
ends, falls out of place, thick, black, stringy.
"I should do something about my perma-
nent," she admitted. "I haven't had it
washed or set in three weeks. Besides, I
hate sitting under dryers. I leave that for
the glamor girls.
"They tried to make me glamorous !" she
shrieked, amused at the memory. "A make-
up man worked three hours on my face,
gave me false eyelashes, new eyebrows,
everything. I thought I looked swell. You
should have seen the rushes. I was worse
than ever! So they gave up. A good
thing too. It means I can get to the studio
a_ couple of hours later than the glamor
girls. All I do is slap powder on my face
. . . and I'm ready. I just can't be beau-
tiful."
IN discussing her work, I found nothing
of the clown about Patsy Kelly.
"I'm slapstick, no matter what I play,"
she says. "When I have to register a serious
love scene I look like a sick cow. Yes,
I'm slapstick, but you can be slapstick with-
out throwing a pie. I believe in contrast.
"Carole Lombard falling in the gutter is
funny. If I do the same thing it means
nothing. Let me trip in a place like the
Waldorf-Astoria and that's a sure-fire
laugh."
She confessed to working hard.
"Four^ years in Hollywood and I've
worked in forty shorts and twenty features.
Outside of three days last year, this is
my first holiday. I motored from the coast
with a friend. It took us ten days to cross
the country. I discovered I still have a
charmed life. I drove, and in trying to
avoid running over a dog, bumped into a
telegraph pole, turning the car completely
over. Neither of us were hurt. In Texas
I woke up one morning to see that one side
"You didn't follow suit," says
Clarence Kolb to Patsy Kelly as
they wait their turns before the
camera of "Merrily We Live."
As if Patsy didn't know!
of my face was swollen to twice its normal
size. I didn't feel any pain so I figured
the mirror was wrong ! It wasn't. I had
an abscessed tooth without pain . . . the
charm again !
Patsy is sincere and utterly natural. I
arrived before the studio man and the
press.
"I'm not used to all this fuss," she said.
"I feel like a high school kid. I wish you'd
stick with me."
While we waited we discussed the old
days, when I was press agent for a Broad-
way show, Delmar's "Revels," which had,
in its cast, an unknown youngster named
Patsy Kelly. The unknown girl had to
sing a song. It was one of those serious
revue numbers, an excuse for show girls to
parade up and down dressed as perfume
bottles and jewelry. On one side of the
stage sat Patsy Kelly with a singing part-
ner. But she couldn't be serious.
"It was my sick cow look."
Anyway, the number was tlirown out,
only to appear in another revue, where,
sung by Bill Robinson, it became the na-
tional hit known as "I Can't Give You Any-
thing But Love."
"It's a wonder they didn't fire me for
ruining that song," said Patsy. "That's
what I mean by a charmed life."
And we continued to reminisce, I, re-
calling the first rehearsal day when I col-
lected the names of the cast, and she had
held out her hand and said, "It's Kelly to
you."
"It still is," said Patsy.
"To your fans, too ?"
"In spades !"
So, if you know your cards, you know
that means double !
Errol Flynn arrives at the New-
ark airport for a well-deserved
vacation in the East.
"ON A RECENT FLIGHT from the
East, I heard a girl across the aisle
confiding her troubles to the
plane's stewardess . . •
"ALTHOUGH YOUNG and well dress-
ed, she had let unsightly, rough, chapp-
ed lips spoil her looks. All men — even
employers! — like to see a girl looking
her best, with smooth, lovely lips . , .
"SHE HAD LOST her job — was
returning home a failure. She couldn't
believe that her work had been un-
satisfactory . . .
"I TOLD HER, before we landed, about
a special lipstick with a protective
Beauty-Cream base that I've heard prais-
ed by many screen and stage beauties.
The other day 1 had this letter from her . .
ssproof Lipstick in 5 luscious shades
drug ond department stores
it with Kissproof rouge, 2 styles
nd Cheek (creme) or Compact (dry)
sproof Powder in 5 flattering shades
onerous trial sizes at all 10c stores.
sproof
PSTICK
ROUGE
SCENAKIO DY RICH\Rl> ARLLN
107
MODERN SCREEN
Smooth Your Skin
New Hollywood Way
WITH THE SAME CREAM
THE STARS USE
Here's That Amazing New
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ing Emollients Thaf's
Thrilling All America
TAYTON'S
CREAM
floats Away Dirt, Dis-
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Smooths — Softens. Pow-
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^ Joyce Compton
The Lovely star with
Stuart Erwln in "Small
Town Boy" says — "I
use Tayton's Cream to
cleanse and keep my
skin smooth and youth-
ful looking."
Test This Thrilling Beauty Discovery
UNDER MONEY BACK GUARANTEE
Make your skin smooth and alluring like the
Stars do. . . . TAYTON'S CREAM releases pre-
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also dissove dry, scaly skin cells that cause
roughness, your powder to flake off, skin to
shine, look parched and old. Lubricates dryness.
Flushes blackheads. Rouses oil glands. Helps
bring out new, live, fresh skin. Thousands
praise it. Get TAYTON'S CREAM at your 10c
store. Drug and Dept. Store. Cleanse with it,
also use it as a night cream. If your skin is
not smoother, fresher and younger looking after
first application your money will be refunded.
■■^pp Also test TAYTON'S new glamour face pow-
k Iffkk tier the stars use. Send your name and ad-
r 11 tt <lress to Tayton Company, Dept. B, 811 West
■ ""^^ 7th St., Los Angeles, Calif., and generous
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'A
. . BUT
ISN'T ALL
MASCARA
JUST ALIKE?
NO/.
WINX IS
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FINER TEXTURE
...LOOKS MORE
NATURAL.. KEEPS
YOUR LASHES
SOFT AND SILKY!
For more beautiful eyes, be sure to
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Approved by Good Housekeeping Bureau.
At ol! drug, department and 10f^ stores.
ID I NX
MASCARA
HOLLYWOOD HUSBAND
(Continued from page 41)
wondering if she should let herself be
kissed. Though at the time, I didn't yet
guess the reason for the way it hit me.
Then suddenly she was in high school,
and a beauty. Her body took on graceful
curves. Her eyes glowed with mystery.
Her blue-black hair was under control.
I remember the night I became aware
of all this. Mona had got the lead in her
class play, and she'd asked me to be her
escort for the evening. She was all ex-
cited, not only over the acting, but because
there was to be a dance and supper.
Her mother, when I called at the house,
told me, "She's almost ready." We heard
the tap-tap of heels overhead.
Next moment I held my breath. This
girl coming down was a princess. Her
arms and throat, bare above the chiffon
of her dress, were delicately veined marble.
She walked with grace.
In her high-heeled slippers, she was
taller than I. She made me feel clumsy.
Humble, too. In the taxi, I said, "What
made you pick on me, Mona? There must
have been boys your own age, crazy to
take you."
She said scornfully, "Oh, boys ! They
bore me ! They are all right to dance
with, but afterwards, I've nothing to say!"
She snuggled against me. "But you're
grown-up, you're almost the rock-of-ages."
The dark cloud of her hair was close
to my lips. With an effort of will, I con-
trolled myself. "Kidlet," I said gravely,
"I hope you still mean that a couple of
years from now. Because if you do, I'm
going to ask you something."
Womanlike, she knew at once what I
meant. Her eyes sparkled. "Ask me
now !" [
"No," I said, "You're too young. But |
some day, darling, I mean to ask you to j
be my wife."
Her eyes were shy now. "Oh, John,
that's what I used to tell my dolls I'd be ! [
John ..." She held up her untouched
lips to be kissed, and I asked myself what
I'd done to deserve such luck.
A year later, I was graduating from
medical school and Mona sat beside my
father. Afterwards, Dad disappeared,
leaving us the car. It was in that old car
that I fastened my little pearl-studded
fraternity pin on Mona's dress.
"But the waiting isn't over," I warned.
"There's a year of interneship. After-
wards, even if Dad takes me in ... "
She laughed tenderly. "I can wait."
Long engagements — empty days filled
Martha Raye and Bob Hope ogle and croon in perfect comfort in a
scene from "College Swing," their newest and goofiest picture to
date. All kidding aside, however, Martha can be a glamor gal
too when she's in the mood for it!
108
MODERN SCREEN
Ready, all set, go! And petite
Alice Faye bowls them over
again.
with nothing more substantial than dreams.
Maybe the seed of our trouble was planted
then, maybe Mona learned too well how
to do without me.
An interneship isn't like medical school.
It means a room in the hospital, hardly a
day a man can call his own. I saw little
of Mona and she grew restless. First thing
I knew, she was looking for a job.
"I've alway had a passion for the stage,"
she said, "and now I mean to find out if
I'm any good. Even bit parts pay a salary.
I'll save it, so we can have a nest egg for
a honeymoon."
How could I make an issue of her acting,
then? And later, when she walked into a
hit that played through summer, how could
I object?
Fall came, and with it the break of my
life. Even as a student, I had been inter-
ested in the problems of perfecting a new
type of anaesthesia to help women in child-
birth. At the hospital, I did some re-
search which attracted attention. And now
a world-famous specialist in Vienna wrote
and invited me to work with him.
I was thrilled. I rushed to the theatre
and tore into Mona's dressing room. "Dar-
ling," I cried, "how soon can you marry
me ? We're going to Europe on our honey-
moon."
Mona was lovely about it, excited, but
she didn't react as I'd hoped. "Vienna?"
she said. "But what in the world would I
do in Vienna? I'd be alone. Wouldn't
even see you, because you'd be buried in
the hospital."
"You mean, you won't come with me?"
She made it sound less harsh, but that's
what she did mean. We argued about it
uselessly. "Mona, if you loved me . . ."
"And if you love me, John, you'd let me go
on with the work I've learned to love."
I gave in. Mona said we'd waited so
long, a few more years wouldn't matter.
And I thought, "She's young. She's reluc-
tant to be rushed into marriage." Since
then I've wondered how our life might have
turned out had I been stubborn.
The years did not fly, they crept. I
buried myself among test tubes. Eve-
They Still Talk Behind Her Back
BUT NOW THEY SAY:
She is "Miss Popularity" of her set be-
cause she knows the value of a beautiful
complexion. She is the glamour girl who
keeps her skin looking youthful with
the help of the Linit Beauty Mask.
Why not try this gentle, quick-
acting facial treatment which helps
to stimulate the skin, and eliminate
"shine".
Here's how quickly the Linit Beauty
Mask is prepared. *Simply mix three
tablespoons of Linit (the same Linit that
is so popular as a Beauty Bath) and
one teaspoon of cold cream with enough
milk to make a nice, firm consistency.
Apply it generously to the face and neck.
Relax during the twenty minutes it takes
to set, then rinse off with clear, tepid
water and pat the face and neck dry.
You will enjoy pleasant facial smooth-
ness after the Linit Beauty Mask treat-
ment. It leaves a velvety"film"that is an
excellent powder base and heightens the
allureof make-up. Your grocer sellsLinit.
*lst STEP
Mixing takes a
2nd STEP
Applying takes a
3rd STEP
Resting for 20
minutes.
4th STEP
Rinsing off com-
pletely.
109
MODERN SCREEN
Feed your tiny tot Heinz
Strained Foods and see
how eagerly he eats!
He'll like their natural color! He'll
appreciate the tasty flavor Heinz cooks
in— never out. Choicest fruits and vege-
tables are prepared scientifically to pre-
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which to choose. You pay no premium
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GUARD YOUR BABY'S HEALTH —
LOOK FOR THESE SAFETY SEALS
^ HEINZ
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CXV\C\ SCHOOL
.V^llVT OF THE
TKeaire
(44th Year.) Stage, Talkie, Radio. Graduates: Lee Tracy,
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(Relieves
TEETHING paInS
«^''"'' 1 minute
Wh
'HEN your baby suffers from teeth-
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Buy Dr. Hand's Jrom your druggist today
nings, I wrote ardent letters to my touch-
me-not girl. I called her the marble prin-
cess in the ivory tower.
She' wrote back frequently, but through
the tenderness of her words I sensed a new
restless excitement. She had been in an-
other hit. She made a short, very bad
movie in the Eastern Studios — just for a
lark. I went to see that movie in Vienna's
newest picture house. The picture had been
every bit as bad as Mona warned, but the
leading man was handsome, and they
seemed to enjoy their clinches.
I went home soon afterwards, but Mona
wasn't at the pier to meet my boat. She
was in Hollywood, having her first real
fling at films. Dad told me about it.
About the talent scout spotting her in a
Broadway show.
At midnight I called Hollywood, not car-
ing what it cost.
Mona's voice on the wire made my pulses
throb. "Darling! I'll be home in three
months. Oh, John, do you love me?"
I thought, three more months. Always
waiting.
She did come home, on schedule. She
flew. I met her at the airport. I couldn't
believe that at last I held her in my arms.
"Beloved," I whispered, "I'll never let
you leave me again! I've missed you so."
She said shakily. "I told them at the
studio I wouldn't be back for a while."
That meant she was going back eventu-
ally. Mona still loved me, but she had
had work she wanted to do and a purpose
she wouldn't dream of relinquishing. And
I couldn't help smiling at her glowing pic-
ture of the future. "Don't you see, John — •
I'll be making money. Some day it will
grow into a research fund for you. Just
think, me endowing my husband to do
great deeds !"
How could she guess that some day this
very love of hers would come near to de-
stroying me !
We were married that same day.
I shan't tell you about our honeymoon.
It belongs among those precious sacred
memories one doesn't air. But in the end
it ^ was over, and Hollywood claimed my
wife. She was as miserable about going
as I was, yet eager, too. "Can't help it,
Johnny_ darling. It's in my blood — and
you're in my blood. Lord, what a tangled
life I've picked for myself!"
Ah, Grace Bradley, we never
would have guessed it. Slacks
—to be sure!
e^cpensujt/eJnoes
i"
may cm
BABY'S
FEET
X-Ray of baby foot In
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JUST RUB n ON THE GUMS
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Teething Lotion
no
MODERN SCREEN
Between scenes for her latest
picture Shirley Ross has a
snack.
We didn't know yet how true that was.
For Mona was headed now towards fame,
a salary due to grow more fantastic every
few months. And I ? I was nothing but
a good doctor who some day might be tops
in his profession — within hmits.
Again I was alone. But loneliness was
harder to bear, for now I missed, not a
dream girl, but a woman of flesh and blood.
.A.nd jealousy began its insidious torment.
Mona flew east between pictures, and
every time she tried to reassure me. "Dar-
ling, there's nothing to it ! The studio in-
sists I go places. After all, a girl can't go
to the Brown Derby and the Troc and the
races all by herself 1 The men who take
me are good sports, but mainly they're
canny." She explained, "They want to be
seen too."
"I know, darling. I know motion pic-
tures are a business like any other, and
that you must follow rules. But how do I
know you won't fall for your leading man?"
Che was terribly hurt. "How can you
^even think of such a thing? After all
these years when I haven't looked at any
other man !"
Yet the fact remained I was nothing but
a sandy-haired, average looking man glid-
ing towards middle age, and I had no il-
lusions about myself. If I'd had, my first
visit to Mona in Hollywood would have
dispelled them anyway. I shall never for-
get that visit, because it was like a bird's-
eye view of our whole married life. I shall
never forget the day I got there.
Like Mona, I flew across the continent.
I couldn't afford it as easily as she, but I
was impatient to be with her. I had ex-
pected her to come to me, but at the last
moment she changed her plans. "Please,"
she'd written. "Please, darling. I'm so
tired. And Malibu Beach will be heaven.
Surely you can get away."
So I arranged with a colleague to take
care of patients, handed over to him an
operation which meant a thousand dollars.
I didn't grudge any of it.
I remember thinking, as the plane circled
over the airport, how clear and brilliant
California sunshine really was. Then we
were landing. I strained to pick my wife
out in the crowd on the field, but she
wasn't there. I was sick with disappointment.
IS PART OF LOVELINESS
The charm of attractive womanhood is made up of many things.
Above all, a quality not to be measured merely by birthdays . . .
a quality of fresh, sweetly fragrant daintiness, which proper care
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Complete directions are on every bottle ... at any druggist's.
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1 — Non-Caustic "Lysol", in the proper
dilution, is gentle. It contains no harm-
ful free caustic alkali.
2 — EfFectiveness . . "Lysol" is a powerful
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matter (such as dirt, mucus, serum, etc.) .
3 — Spreading . . . "Lysol" solutions
spread because of low surface tension,
and thus virtually search out germs.
4 — Economy . . . "Lysol", because it is
concentrated, costs only about one cent
an application in the proper dilution for
feminine hygiene.
5 — Odor . . . The cleanly odor of "Lysol"
disappears after use.
6 — Stability . . . "Lysol" keeps its full
strength no matter how long it is kept,
no matter how often it is uncorked.
For your
cleansing douche
What Every Woman Should Know
SEND THIS COUPON FOR -LYSOL" BOOKLET
LEHN & FINK Producla Corp.
Dept. 4-M.S.,Bloomfield, N. J., U. S. A.
Send me free booklet "Lysol vs. Gernw" which tells the
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Name .
St reel —
City^
Copyright 1938 by Lohn & Finl< Products Corp.
TUNE IN on Dr. Dafoe every Mon., Wed., and Fri., 4:45 P. M., E. S. T., Columbia Network
ILl
SHORT-CUTS TO BCAUTY
MODERN SCREEN
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M£N£OVE
^^?^f3fMf G/RLS/
The Mauch twins keep us guess-
ing in "Penrod and His Twin
Brother."
The usual detail of newspaper men and
photographers looked us over and decided
none of us were worth bothering with.
They were turning away when a limousine
drove up. Mona jumped out of it and
ran towards me, calling my name.
"John 1 The studio called a conference
and . . . Darling, will you forgive me for
being late?" Instantly, the press snapped
to attention. Cameras clicked. We were —
or rather Mona was — the center of atten-
tion.
I wanted to ignore them. But Mona,
having learned about the behavior of a
young star, pacified me. "Sorry, sweet."
She was nice to them. "I'd catch hell from
the studio if I tried to high-hat the press."
Oh, it wasn't being kept out that burned
me up ! What does a doctor want with
publicity, anyway? It was their attitude.
How would you like to be told that for
your own wife to be seen with you is
bad business.
That whole visit was a nightmare. In the
first place, Mona's week of rest was can-
celled, so that on my very first day in the
film capital she went to work. I went with
her. She said it might be fun. Fun!
Throughout the afternoon I stood watching
her kiss the same man again and again
while a director shouted, "More passion,
Miss Carne !" Finally I walked away.
It did little good to tell myself that she
Joan Carol, newest Fox starlet,
pays a daily visit to Jane With-
ers on the set of "Gypsy."
Orange juice is served!
TF you are happy and peppy and fuU of fun,
1 men will take you places. If you are lively,
they will invite you to dances and parties. 1
BUT, if you are cross and lifeless and always
tired out, men won't be interested in you. Men !
don't like "quiet" girls. Men go to parties to ;
enjoy themselves. They want girls along who are I
full of pep. , , ,j i
For three generations one woman has told 1
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^^Make a note NOW to get a bottle of famous
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VEGETABLE COMPOUND
"Has She Anything Leit to 'Want?"
Jeanette MacDonald candidly answers this
and many other intimate questions in
May MODERN SCREEN
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112
MODERN SCREEN
READING TIME LESS THAN 2 MINUTES
AND WELL WORTH EVERY WOMAN'S TIME
"Love Is a Headache" is the
reason for Gladys George's and
Franchot Tone's seriousness.
didn't enjoy those kisses. But I never re-
turned to the set. I said the lights hurt
my eyes.
There were other things. There was the
party Mona gave for me. A madhouse of
extravagance. Everyone in the room was
a Name, the huge of¥-white living room
was a perfect setting for Names, and it was
fny wife's home and I was a stranger in it.
Oh, she tried'to tell them I was the guest
of honor, but I was only a movie star's
husband. I had nothing to contribute to
the talk. They talked shop, and the only
shop talk I knew was science. Theories
and formulas. Some day they might bene-
fit humanity, but they are pretty deadly
in a drawing room.
I left at the end of the week. It wasn't
until I was back in New York, not until
the hospital with which I'm connected tele-
phoned for advice on an urgent case, that
I began to feel my self-respect coming back.
Oh, it was good to know I was useful, a
necessary cog in the machine of life.
I made several visits to Hollywood after
that, but mostly I tried to have Mona come
to New York. "The commuting couple,"
columnists named us.
Mona's visits to me were more successful
than mine to her, because in New York
even a film star can be squired about with-
out too much ballyhoo. But it wasn't like
old times. I wanted to do sentimental
things like taking a boat to Coney Island,
like lunch at the Automat. Mona said
that was out. "A star can't afford that
kind of slumming. Besides, I'd be mobbed
by autograph hunters !"
Oh yes, she was a full-fledged star now.
Her salary had risen to five thousand dol-
lars a week when, during a whole year of
practice, I was lucky if I cleared ten !
WHAT could I offer her? The enor-
mous star sapphire on her engage-
ment finger she'd bought herself. It prac-
tically hid the platinum band I'd put there
once. She said, "That's good. The public
doesn't like to be reminded I'm an old mar-
ried woman."
And yet, through all the misery, our
love lived on. Each time we parted, we
clung to each other like lost children. And
it was sweet to know that I was as dear
to my wife as she was to me.
Once she whispered, "You're still — my
rock of ages. I don't know what I'd do
without you. Everything else — Hollywood,
success, fame — they're grand, of course. But
only because you're there in the background,
loving me. If ever I lose you, everything
else will be — well, just the glitter that isn't
gold."
If ever I lose you. ... So she too was
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113
I
MODERN SCREEN
EVERYONE KNOWS
OFFICE WORK IS
HARD ON THE HANDS
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114
being tortured by that fear. I cried, "If
only we needn't spend most of our lives
apart ! If only there were some way. . . ."
That's when she had an idea. "But John,
maybe there is a way! A good doctor is
necessary — wherever he happens to be. . . ."
I didn't understand at once. She went
on, "Come to Hollywood. Open an office
there. Even in Hollywood people get sick,
you know. Why not?"
Why not, indeed? It was so simple we
might have known there was a catch to it.
My father was frankly dubious. "A
doctor should stick to the hospital where
he's doing effective work. Do you want
to become a fashionable dispenser of pills ?"
We laughed, and since Dad believed you
can't stop a man from making his own
mistakes, he said no more. It wasn't six
motiths iDefore I acknowledged how right
he'd been.
Because practice in Hollywood — and I
was successful in a big way once the movie
colony took up Mona Carne's husband as its
official healer, was a farce. No time for
days given freely to work in a clinic, now.
No time for research. Instead, there were
endless private calls, the kind a good doctor
can easily settle over the telephone.
But the stars wanted attention, personal
and undivided. They wanted flattery. And
I, hating myself, gave it. Because I knew
that if I didn't, they'd stop calling me in and
then once again I'd only be a drag on
Mona.
No, we didn't find happiness through liv-
ing under the same roof. Mona still kept
going out with more spectacular men. And
while she danced, I'd go to the home of
some other languid lady, summoned on an
urgent call.
Half the time there was nothing the mat-
ter with the patient. "I've got the jitters,
Dr. Murdock. What does science prescribe
in a case like that. Could a cocktail for
two be the cure?"
I writhed inwardly. At first I'd thought
my own studies might be of some use, be-
cause stars are women too, and women have
babies, and whether you're rich or poor the
suffering is the same.
But even that wasn't so. They didn't
have babies, they adopted them. The studios
advised it. Why, a great star's time and
popularity were too precious.
Once, I had dreamed that the crowning
achievement of my career would be to help
Mona bring our own son painlessly into
the world. But she had other ideas. .
Can you understand that my nerves
cracked under the strain? A doctor, like
a musician or an engineer, requires con-
stant practice of his best faculties. Mine
were seedy. I became obsessed with a fear
that if I were faced with some complicated
case, I would fail.
MY father died, leaving me the big
brownstone house in New York, and
little else, except a touching letter of fare-
well. He ended it with these lines. "Re-
member, son, what a great poet said. 'To
thine own self be true. Thou canst not then
be false to any man.' "
I knew well what he meant. And Mona
knew, too. Tears came into her eyes. "Oh
John," she said. "It is true, isn't it?
Everything's my fault. I've made you —
be untrue — to yourself."
I took her in my arms and let her sob
against my shoulder. Yet I couldn't find
it in my heart to say the words which
would have soothed her.
And then, like a bombshell, another letter
came. It was from the famous specialist
in Vienna whose pupil I had once been.
He was coming to the United States, to
work for several years in one of those
imposing endowed institutions of science
wliich are the wonder of the rest of the
world.
He wanted me to work with him. He
said, "You're a young man, John Murdock,
and you will carry on where I leave off.
There is so much to do, and not enough
men to do it."
M}' big chance. Not much glory in it,
certainly no money beyond a living wage.
But oh, the thing every man wants most —
achievement.
But there was the other side of the pic-
ture. Gone would be my comparative
"equality" with my wife. No more expen-
sive, shiny Hollywood doctor's office. No
more jaunts across country at thousands of
dollars a throw. Only work.
I showed that letter, also to my wife. We
talked it over quietly. She cried desper-
ately, "But John, where would there be,
in your new life, room for — us? For me?"
I said gravely, "There's always room for
you. You are my life." But she shook her
head.
"No, if you go away, it'll be the end.
Not at once, perhaps. But sometime. I
feel it."
"And if I stay?" I asked her.
She buried her face in her hands. "I
know," she moaned. "If you stay, it will
be the end, too. You couldn't forgive me
for keeping you to work that isn't worthy
of you. And I don't think I could love a
man who wasn't true to himself."
It is a week now since that letter has
been lying on my desk. I don't know how
to answer it. We've searched for the so-
lution. Driving in the sunlight, we've tried'
to see into the future. Lying close in the
night, we've tried. And always, we go
round in a circle, and in the end the riddle
is still the same.
If I turn down that offer, I'll become a
Hollywood husband for good, a failure in
my own mind. Mr. Mona Carne. If I ac-
cept it, it will mean the end of our mar-
riage.
Because sooner or later Mona will slip
away from me. She mayn't think so now.
But glamor and success have their lure.
Men will court her. And in the end one of
them will win out. I might as well admit
I know it.
What are we to do, then? Please write
to me and tell me, you who read this !
We've thought so much we can't think for
ourselves any more ! Have we reached an
impasse? We're both career people, Mona
and I. We both love our work. Should I
sacrifice my own to hers? Can I be a maia
and do this? Perhaps your letters will de-
cide for me, one way or another.
Lionel Slander and Harold
Lloyd hold roadside conversa-
tion while on location for "Pro-
fessor Beware."
MODERN SCREEN
CLADDETTE TARES HER MEASUREMENTS
{Continuing from page 33)
I said, "Let's unroll the tape measure and
begin. You know, you measure a child
every so often to take stock of develop-
ment, if any. Why not a star? Let's be-
gin with the face."
"Oh, let's not!" laughed Claudette.
"You'll go deuces wild with that tape
measure if you try to make my face con-
form to movie measurements with it. Ex-
perts have tried and failed. It needs a
lot of doing, that's the bare fact about
my face. Too broad across the eyes, too
narrow across the chin. Nose wrong. I
have no illusions about my face. I have '
to have careful lighting, careful make-up
if I am trying to look glamorous, which I
seldom am. I must play parts which call
for changes of expression, vivacity, using
the play and mobility of feature which will
distract attention from the tape-measure
deficiencies."
So the tape measure was out. It would
get hopelessly snarled if used on Claudette.
She doesn't match, and when you add up
the contradictions, you have a provoca-
tive personality, all the more provocative
because it cannot be card-indexed, tagged,
trade-marked.
Claudette perceived the pitiful little wad
into which the tape measure had been
rolled and she helped me out. Which is
also characteristic and the one undeniable
consistency among the contradictions of
Claudette, her desire to help out, her prac-
ticality when she does help out. As when
someone is ill, for instance, some worker
in the studio, perhaps. She doesn't spill
over and send large gobs of fancy flowers.
She sends bowls of strong soup, bottles of
strengthening wine, things that will do sub-
stantial good, not just attract the eye, and
the attention.
She doesn't spill over in any way. She
will not discuss her husband, her marriage,
her private life for publication. She doesn't
spill over in her friendships, either. She
doesn't spread her affections thinly, calling
chance acquaintances "darling," inviting the
crowd to "drop in, any time." She has
never had an uninvited guest in her home.
No one has ever just "dropped in." She
invites her friends to come to dinner on
Wednesday evening the 18th, at 8 o'clock
and that is when they come, and only
when they come.
And because contradictions embroider
the firm foundation of the Colbert char-
acter, she is, also, informal. She likes to
have daytime guests because they can play
tennis, jump in the pool, be out of doors ;
she likes to wear slacks and forget make-
up. She has only a few friends but the
few are her intimate friends, without
reservations. And she is fiercely loyal
to them. A friend of Claudette's would
just about have to run the gamut of sheer
viciousness before she could be made to
disbelieve in him, or her. She is "crazy
about Carole Lombard" ; she is "terribly
fond of Roccy and Gary Cooper," a hand-
ful of others.
So, now, she came to my aid. She said,
"I'll tell you one thing your tape measure
would not have found in me, measure as
it might, and that's an inferiority complex.
I haven't one." She is, she added, awfully
bored with inferiority complexes, with
people, nine out of every ten, who an-
nounce that they suffer from this epidemic
malady which is, one would assume, more
common than the common cold. She said,
"I never had a terrific inferiority at any
time. I always knew that I would get
along, whatever I did." (She still knows
so. She is confident that, had she' not
gone on the stage but had, instead, done
dress designing, as she planned, she would
have been successful. For Claudette be-
lieves that if a person is at all successful,
in any thing, it's reasonable to suppose
that they have the stuff of success in
them.)
"I did have a terrific shyness," Claudette
was saying. "I was inhibited. I was
stiff. I couldn't let myself go. That was
the result of my French upbringing. For
a French girl is, you know, trained
never to show any emotion of any kind, for
any reason. Naturally, when I was pro-
jected from that sheltered background
plunk into the stage, of all places, I froze.
More so when I first went into pictures.
I felt so self-conscious. It seemed to me
that I was living all my life, my most
intimate moments and emotions, in front
of a mirror.
IT has only been in the past four years
that I have gained self-assurance. The
parts I have had have helped, yes. 'The
Gilded Lily,' 'Private Worlds,' 'Tovarich,'
now this 'Bluebeard's Eighth Wife' are
pictures which have contributed largely to
my feeling of self-assurance. I know my
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116
On his return to Hollywood, Rudy Vallee visits Gary Cooper and
Claudette Colbert on the set of "Bluebeard's Eighth Wife."
job now. It is, after all, highly technical,
and technique can be learned. The emo-
tions you build, the reactions you try to
get, are like pieces of a puzzle, and once
you have learned the trick of putting the
pieces together, you have that feeling of
competency which is self-confidence.
"Does having achieved self-confidence
mean that you never worry now?"
"No!" laughed Claudette, that rich silk
laugh of hers, "I worry about everything,
A curl out of place, the way a piece oi
furniture is placed on the set. I used to
worry about my health, but having a
doctor-husband takes care of that. They
had a lot of fun with us on the set ol
'Tovarich,' Charles Boyer and me, be-
cause Charles is, if anything, a better
worrier than I am."
And here, again, a contradiction in the
Colbert composite. For she is, she insists
in the next breath, always optimistic about
the future. She will always gamble with
futures. She told how she onced moved
from a small apartment into a very large,
swank one without the faintest idea _ of
where the next month's rent was coming
from. But that was the next month. Sonie-
thing would turn up.
"I worry about my work now, today
this hour," she said. "For the future,
well, I know what I want to do. I'd like
to be, on the screen, what Ina Claire is on
the stage. I want to do the same sort of
sophisticated comedy. For sophisticated
comedy is ageless. And comedy is the only
way, I believe, in which age can be bridged
over. That's why I'm so pleased about
'Bluebeard's Eighth Wife.' It was one of
Ina Claire's plays."
She is, she says, no business woman at
all, again in spite of her fundamental prac-
ticality. She never sees her own checks,
doesn't know the color of them. And as
for lists of stocks, and income tax blanks
and the like, they might as^ well, she
laughed, "be the funny sheets !"
She enjoys fame and the rewards there-
of, enjoys being recognized, applauded, as
any normal, healthy-minded person does,
if the truth is told. "I enjoy it," Claud-
ette said, "except on the occasions, very
rare, when I want to get away, let down
my hair, have nothing on my face and can't
do it." But even when she does go
away she keeps her hair up, doesn't wear
smoked glasses, doesn't try to palm herself
off as Miss Brown from the Middle West.
SHE isn't temperamental. She does have
a quick temper, and it is, she told me,
"like milk soup, which boils up quickly and
furiously and subsides just as immedi-
ately." She detests shopping for clothes
. . gets around it by buying an entire
season's wardrobe at one time, in one
place. She is extravagant only about
houses, always has been. She has built
her home in Bel Air, Georgian and gra-
cious, and she says, "I go crazy, buying
things for the house." Her hobby is 18th
Century china, English, not French.
She is easily influenced by the moods of
others. She is easily hurt, easily offended,
supersensitive. She is more cynical than
trusting. She says, "I never take people
<3n faith. I am suspicious of everybody."
She is exacting with the people who
work for her, fair but exacting, expecting
them to know their jobs and to do them.
She is equally exacting with herself. She
isn't neat. She added, amused, "I'm ter-
ribly neat if somebody does it for me, and
somebody always does. My mother has
spoiled me in that way.
"I'm always late for appointments and
I don't mean ten minutes late, either. I
can't bear to be alone. I even invite some-
one to lunch with me here on the set every
day because I can't be alone. I'm gregarious
to the extent that I have to have someone
with me all the time, one or two people,
not a crowd. I'm a terribly routine person,
too. I seldom go away. I haven't taken a
trip in over four years. The trip Jack
and I are about to take to Europe will be
my first in four years."
And right here, Ernst Lubitsch came in,
asked Claudette about the pronunciation of
a French word, and said, "We are ready
for rehearsal, please."
And Claudette, without a glance at the
mirror, left, saying, "I think that if you
had measured Lily Cauchoin, you would
have found all of the same qualities, with
the exception of the one — self-assurance.
"THE BEWILDERING BRADY"
The inside story of Alice's chance at
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INFORMATION DESK
(Continued from page 17)
ing as his favorite pastimes when not mak-
ing pictures. He is Idle very little of the
time, however, since he crowds as many
pictures into a year as possible. This, in
closing, should be welcome news to his
hosts of feminine admirers. He's still a
bachelor !
We i-eceive so many letters in this de-
partment from movie-struck fans who long
for screen careers that we are taking space
this month to give all of you a few plain
facts about the situation. You might as
well face the blunt and discouraging truth
that only about one in ten thousand ac-
tually make the grade, unless backed by
stage experience, dramatic coaching, per-
sonality and ability that has had public
recognition, and, last but not least, the
right connections. The Cinderella stories
you read about are published merely be-
cause they are so unusual. Screen tests
aren't available to the public and even if
you were in Hollywood itself, your chances
Would be practically nil, since you
wouldn't even get your nose inside a studio
gate as an extra, unless you registered with
Central Casting Bureau. This in itself is
an impossibility these days, since their
lists are so overcrowded already that they
are not taking any new applicants. Far
better for you to apply yourselves to some-
thin"- practical and forget the day dreams.
Hollywood is full of beautiful, inexperi-
enced, hopeful girls and boys who feel all
they need is a chance. But they won't get
that chance, and in the meantime, they're
all but starving.
DalUng, Chicago, 111. The list you refer
to appeared in the June, 1937, issue of
MODBKN SCREEN. If you will send ten
cents to our subscription department, the
nvi"a/,ine will be mailed to you.
Blarv Gowska, Scranton, Pa. A brief story
of' Gene Autry's life appeared m the July,
1037 issue of MODERN SCREEN. yVe will
be "-'lad to mail you a copy if you will send
tou'^cents to our subscription department.
Sorry not to have been able to answer you
before this.
J.
Barbara Hunn, Parma, Mich. Fredric March
is very much married to Florence Eldredgc.
His latest picture is "The Buccaneer." A
letter addressed to him in care of United
Artists Studio. Hollywood, Cal. will reach
him. He is forty years old.
Leah Kaufman, Pittsburgh, Pa. Since your
letter is one of many showing a misunder-
standing in regard to our printing biog-
raphies of stars, we hope this answer will
explain the matter to everyone's satisfac-
tion. Each month this department prints,
in MODERN SCREEN, several brief life
stories, chosen according to the number of
requests sent in. Once a biography has been
printed, that particular life story is not
reprinted for six months, thus allowing for
greater variety. In no instance do wfe
mail out life stories of the stars, free of
charge or otherwise. It is entirely a feature
of the Information Desk carried each month
in the magazine and dictated by requests
sent in by our readers.
Marjorie I.ee, Memphis, Tenn. The cover of
Shirley Temple which you refer to was on
the May, 1936, issue of MODERN SCREEN.
If you will send ten cents to our sub-
scription department we will be glad to
mail you a copy of that issue.
Minnie Wolfevitch, Montreal, Que. Nelson
Eddy was born in Providence, R. I. in 1901.
Eleanor Meyer, New York, N. Y. James^
Cagney's next picture will be "Angels With
Dirty Faces." At this writing, no leading
lady has been chosen. Address Mr. Cagney
in care of Warner Bros. Studios, Burbank.
Cal.
Max Jones, New Zealand. We do not fur-
nish photographs through the magazine.
However, if you write to Eleanor Powell
in care of Metro-Goldwyn-Mayer Studios,
Culver City, Cal., requesting her picture,
5'ou will receive one. Bvit be sure to enclose
twenty-five cents to cover mailing costs.
Harris Huerth, St. Paul, Minn. There is a
tentative deal in the air which may bring
Jessie Matthews to this country in the very
near future to make a picture for Metro-
Goldwyn-Mayer. Her latest English release
is "Sailing Along" with Jack Whiting and
Roland Y^oung.
Sylvia Kaylor, Brooklyn, N. Y. In printing
life stories we try to answer the requests
of our readers according to the numbers
received each month. Don't lose patience,
your favorite's biography will appear soon.
Muriel Haddon, Dobbs Ferry, N. Y. Tony
Martin's latest picture release is "Sally,
Irene and Mary," in which he plays oppo-
site his wife, Alice Faye.
Alberta Jackie, Glen Ridge, N. J. Ronald Col-
The red-letter day Dorothy La-
mour is marking up is to be the
start of a one-year vacation film
executives have promised her.
118
MODERN SCREEN
Guinn Williams tries to con-
vince Sylvia Sidney in their
newest picture, "You and Me."
man was born in Richmond, Surrey, Eng.
He is not married but has been rumored
engaged to Benita Hume.
Tliyony Theofller, Houston, Tex. Gene Autry
is thirty years old, weighs one hundred
and sixty-five pounds and is five feet ten
inches tall. He is married to Ina Mae
Spiney.
Elmer Schule, St. Albans, N. Y. As far as
we know, Deanna Durbin has made no plans
to appear in a New York stage play. Her
latest picture release is "Mad About
Music."
F. V. Navascues, Philippine Islands. Sorry,
the only address we can furnish you with
tor Deanna Durbin is care of Universal
Studios, Universal City, California.
Anne Bust, New York, N. Y'". Nelson Eddy's
current release, as vou know, is "Rosalie."
"The Girl Of The Golden West" will prob-
ably be released late this month or next.
Mr. Eddy is not a ladies' man, but seems
to prefer his own company, or that of his
mother, who is usually his companion at
opening's and previews.
Jeane Evans, Springfield, O. It is true that
Clara Bow has talked about making a
screen comeback but at the present time she
is awaiting a visit from the stork and has
temporarily abandoned thoughts of her
career. Sorry, but we cannot furnish you
with her personal address through this
column. At this writing, the first ranking
five male stars include, in order of their
importance. Nelson Eddy, Gene Autry,
Errol Flynn, Tyrone Power and Robert
Taylor.
Neltla Tliomas, Sacramento, Cal. Yes, Tony
Martin and Alice Faye were both in "You
Can't Have Everything." The Ritz Brothers
are just that . . . brothers. "Rosalie" is
Eleanor Powell's latest picture.
Barnadine A. Schulte, Philadelphia, Pa. Ad-
dress Ronald Colman care of United Artists
Studio, Hollywood, Cal., and enclose
twenty-five cents to cover mailing costs
of the photograph. If you'll read through
this column you'll find other addresses given
to cover your questions.
Grace Ruby, Clayton, Mo. In spite of what
you have read, Errol Flynn happens to be
the young man's correct name and don't
let anybody tell you differently.
Kichard Storey, New Orleans, La. Jane
Bryan is under contract to Warner Brothers
Studio, Burbank, Cal., where you may ad-
dress her. The stars do read their own fan
mail so she will see your letter. She was
born Jane O'Brien in Hollywood on June
11. 1918. She's five feet three inches tall,
weighs a hundred and thirteen pounds, has
gray eyes and light brown hair.
Anthony Parker, Denham Springs, La. I'^ou
can get Frances Langford's picture by
writing to Metro-Goldwyn-Mayer Studios,
Culver City, Cal. She is twenty-two years
old, unmarried and at this writing not set
for her next picture as yet.
Virginia Novak, Seymour, Conn. Eleanor
Powell plays opposite Nelson Eddy in
"Rosalie."
Margery Green, Philadelphia, Pa. Yes, you
are right. Nelson Eddy and Jeanette Mac-
Donald are set to play opposite each other
Claire Trevor and Michael
Whelan enjoy a chat on the set
of "Walking Down Broadway."
in "Girl Of The Golden West."
Emog-ene Savage, Indianapolis, Ind. If you
write Norma Shearer at Metro-Goldwyn-
Mayer Studios, Culver City, Cal., and en-
close twenty-five cents with your request
for her picture, she'll send it to you and it
will be autographed by her.
Kosemarie Schwartz, Trenton, N. J. Address
Ramon Novarro in care of Republic Pic-
tures, Hollywood, Cal.
Marlis Nilsen, Shadehill, S. D. Jack Oakie's
friend who died was Bill Boyd, the stage
actor. There is another Bill Boyd in the
movies, you know, and he is the one whose
marriage you saw announced.
Betty May Keller, Philadelphia, Pa. Sonja
Henie was born on Ajjril 8, 191.3 in Oslo,
Norway.
Florence Kaye, Pittsburgh, Pa. Alice Faye's
newest picture is "Sally, Irene and Mary."
Y'ep. it's a musical and Hubby Tony Martin
is with her in it.
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Jane Bryan's brothers, Bill, James Murray, Jr., and Don, pose
with their pets. You can see they believe in being impartial.
ClOSE-DP OF A COMER
( Continued front page 39)
Acting is as effortless for hier as breath-
ing. In tile family O'Brien (Jane's name
was changed to Bryan by Warners to
avoid confusion with Pat O'Brien on
theatre marquees), there is no trace of that
histrionic urge which possesses Jane. Un-
less her mother's flare for elocution might
have a suggestion of it.
LONG before Jane was into her teens,
her parents recognized that they had
an embryo actress on their hands. Even
the three younger brothers early realized
that this sister of theirs was something
very special.
It must be the singular alchemy of the
Gaelic blood which drove Jane relentlessly
in her single-track devotion to the stage.
For never once in all her nineteen years
has Jane swerved from her one ambition
to be an actress.
Very recently May Robson said to her,
"What would you do if you had to give up
acting ?"
"I wouldn't give up acting," was Jane's
definite reply.
Jane is shy and hesitant as she dis-
cusses her brief past and her schoolday
venturings into drama.
"Those performances in the attic went
on for years," she recalls. "The plays
were extemporaneous and it depended on
my mood whether I was the princess in
the tower, the villain who held her there,
or the hero who rescued her. Mother
stopped worrying about my periodic dis-
appearances eventually. She knew that I
was off somewhere strutting on imaginary
stages and reducing phantom audiences to
inarticulate admiration of my performance.
"I was in a class play or two at Mary-
mount Convent, but important vistas opened
to me when I entered University High
School. Here were drama classes, a
dramatic coach, plays to be given, scenery
to be painted — in sfiort, the theatre.
"The only trouble was that I always
talked out of turn. I'd be chosen for an
important part in a play, and then the
coach and I would disagree as to the inter-
pretation of the role. Or perhaps I felt
the timing was wrong in the delivery of
lines.
"I would wave my hands and scream, 'It
shouldn't be done that way, it isn't right,'
and before I knew it, someone else was in
my part, and I found myself making the
announcements before the curtain went up.
"When high school was over, I thought
to myself, 'Now at last, I can go out and
be an actress.' I had only vague notions
of how I was going to do it, but I thought
a good beginning would be with a term
in some good dramatic school.
"Very gently I made the suggestion to
the family. But my mother and dad had
other plans for me. They felt that a
course at the University, which was with-
in a stone's throw of our house, was in-
dicated.
"So we made a bargain. I lacked half
a credit in algebra for University admis-
sion. If I would work off that required
entrance credit, I could also at the same
time attend Jean Muir's experimental
theatre. I would have six whole months
to test myself. If no exceptional talents
were discovered by the teachers in that
time, I was to be a good girl and go on
with my education."
So in exchange for that one hour of
drudgery at algebra, Jane received the ful-
some delight of classes in drama, dancing
and fencing, stage-setting and costuming.
Miss Muir's school had an excellent staff,
and Jane received invaluable training.
IN February of 1936, "Green Grow the
Lilacs" was chosen by the Theatre
Workshop for presentation. Lynn Riggs,
the author, was in Hollywood, under con-
tract to a major studio, and he was suffi-
ciently interested to undertake the direc-
tion of his own play.
Jane O'Brien was cast in an important
role !
In deference to the playwright and Miss
Muir, the audience was star-studded.
Among those attending was Bette Davis.
In reality it was Fate sharing a seat with
Bette.
The following morning she went to Max
120
MODERN SCREEN
One of the most accomplished mu-
sicians in Hollywood, Warner Bax-
ter, entertains Loretta Young and
Director Walter Lang at the piano.
Arnow, then casting director at Warners
and said, "I wish you'd go down to Jean
Muir's school. They're giving 'Green
Grow the Lilacs.' There's a girl called Jane
O'Brien in it. She's a natural, if I've
ever seen one."
Mr. Arnow promptly attended. No pos-
sible bets are ever passed up in Hollywood
by talent scouts and casting directors.
A week later, Jane was invited to make
a screen test. She chose the love scene
from "Green Grow the Lilacs." And on
March 9, 1936, she signed a long-term
contract. But before becoming a full-time
actress, Jane finished her algebra and her
workshop course.
"If things didn't work out," she says,
"I wanted to be able to have that algebra
credit so I could go to college. Otherwise,
I wouldn't have kept my part of the bar-
gain with Dad and Mother."
Jane was cast in two pictures in unim-
portant roles. Did this child really have
it? Was she really a natural actress? Did
she possess that undefinable, intangible
quality which every fine actress must have?
In her first few days on the set, she
proved that she had it. She took to acting
before the camera like a duck to water.
Long before "Marked Woman" was re-
leased, in which she played the role of
Bette Davis' younger sister, Bette said
to me, "There is a girl whom you must
know. She is one of those rare things,
a natural actress. Watch her.
"She goes into a scene as if she were
hypnotized ; as if she were following di-
rections, taking orders from some unseen
power. It's uncanny."
Jane is still wide-eyed with delight at
her break and she is now intent on justify-
ing the faith of the studio and her sponsors
in her.
"I hope I'll be given a lot of little sister
roles," she declares. "I prefer not to carry
the love interest in a picture, for I still
don't believe I'm sufficiently mature emo-
tionally to do it."
Her special request now is, "No love,
please," applied equally to her personal life
and her screen life.
Her interests are diverse. Reading, ten-
nis and walking and hunting, with Phil
Kellogg, a cutter on her home lot, as her
companion.
Jane's special enthusiasm centers around
her three brothers : Jim, seventeen, Billie,
fourteen, and Don, eleven. "Billie," she
confides, "is going to be a real actor some
day. He has that special something."
Mary Garden visits MacDonald on
the set of "Girl of The Golden
West," the musical score of which
is said to be sumpin'!
The only drawback to the young brothers
is that their important activities keep Jane
broke buying uniforms or footballs or
carnp paraphernalia for whole groups at
a time.
"And then I have to borrow from the
boys for my own spendin' change. But I
have to pay it back the following week —
so there's no week when I'm not financially
embarrassed."
In a town indifferent to its local talent,
Jane Bryan, a Los Angeles product living
in the shadow of motion picture studios —
daughter of a prominent attorney — has
through luck and talent made an excellent
bid for fame !
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122
BETWEEN YOU 'H' ME
{Continued from page 83)
$1.00 Prize Letter
More Drama For Claire
1 saw a grand picture, "Dead End". I
saw those boys make those "Dead End"
hoodlums startlingly real, Joel McCrea
ignite another brilliant light along his
movie road of success, Sylvia Sydney add
another impressive portrayal to her preced-
ing ones as did Humphrey Bogart. But I
also saw an actress do with her tiny role
what the stars did with theirs. I mean
Claire Trevor as Francey.
I've seen Claire in numerous films before,
but her roles never allowed the verve she
put into her performance as Francey. At
last a part, if small, into which she could
get her teeth and prove she is as good as
Hollywood's best dramatic stars !
Claire should no longer be cast in sup-
port to some star but as the star in a Class
A production like "Dead End". The emo-
tion and vitality she put into Francey
should be rewarded with a starring role
for Claire. — Josephine Crutcher, So. Boca
Grande, Florida.
$1.00 Prize Letter
Shirley, the Kid Sister
Ever since the day 1 made public my
admiration for Shirley Temple, I have been
the victim of an abundance of kidding. I
pretend to be able to take it but inside it
hurts. Because in kidding me, my friends
say things about her that to me seem mean.
Being a lad in my late teens, I regard
Shirley as I would a kid sister. My love
for her is something far deeper than mere
fan worship. I like to imagine her as one of
my dearest friends because I feel that I
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Her beauty, ability and genius are some-
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child I have prayed to some day walk and
talk with as a true friend, is the little girl
I have grown to love. — Bill Dawkins, St.
Albans, N. Y.
WRITE A LETTER-
WIN A PRIZE
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MODERN SCREEN
Helen Broderick bribes Ann Soth-
ern with a bottle of expensive per-
fume. Ann, remember that New-
Year's resolution to keep the next
sweater you knit for yourself!
Solution To Puzzle on Page 88
LSDE
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ERE
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SAM
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LL
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RETE
B
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SLAP
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SE
GO
L ADEL
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Katharine Hepburn has joined the
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MODERN SCREEN
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Important stars flock to Grou-
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Loretta Young puts her hand
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The stamp of fame!
MODERN SCREEN
MAKING THEIR MARKS
PRINTS IN CEMENT MARK THE SPOT WHERE
TY POWER AND LORETTA YODNG HAVE PASSED
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MOVIE SCOREBOARD
Picture and Producer
General
Rating
Adventure's End (Universal) 2-*
Adventurous Blonde (Warners) SVi*
Alcatraz Island (Warners) Wz-k
Alj Baba Goes to Town (20lh Century-Fox) 3 ★
All Over Town (Republic) IV2*
Annapolis Salute (RKO) 2*
Another Dawn (Warners) 21/2*
Artists and Models (Paramount) 3*
Ave Maria (UFA) 3-k
The Awful Truth (Columbia) A-jr
Back in Circulation (Warners) ii
Bad Guy (M-G-M) 2*
The Barrier (Paramount) 1
Beg, Borrow or Steal (M-G-M) 2V2*
Behind the Mike (Universal) 2V2*
Between Two Women (M-G-M) 2*
Big City (M-G-M) 2V2*
Big Town Girl (20th Century-Fox) 2*
Blonde Trouble (Paramount) 21/2*
Blossoms on Broadway (Paramount) 1 i-
Born Reckless (20th Century-Fox) 2-k
Boots and Saddles (Republic) 2V2-*
Boss of Lonely Valley (Universal) 2*
Breakfast for Two (RKO) Or
A Bride for Henry (Monogram) 1 ★
The Bride Wore Red (M-G-M) 1 ★
Broadway Melody of 1938 (M-G-M) 3*
Bulldog Drummond at Bay (Republic) IVi*
Bulldog Drummond Comes Back (Paramount) 1 *
Bulldog Drummond's Revenge (Paramount) 2V2*
Charlie Chan at Monte Carlo (20lh Century-Fox). 2-*
Charlie Chan on Broadway {20th Century-Fox).. 2*
*Checkers (20th Century-Fox) 2*
Colorado Kid (Republic) 2*
Confession (Warners) Sit
Conquest (M-G-M) 4*
Counsel for Crime (Columbia) 2*
Courage of the West (Universal) ^V2^^r
Crashing Hollywood (RKO) 2y2*
Criminals of the Air (Columbia) 2-^
Crusade Against Rackets (Principal) 2-jlr
A Damsel in Distress (RKO) 3*
Dance, Charlie, Dance (Warners) 2-ir
Dangei — Love at Work (20th Century-Fox) 1
Dangerously Vours (20th Century-Fox) 1
Danger Patrol (RKO) 2*
Dark Journey (United Artists) 3ilr
Daughter of Shanghai (Paramount) iVzir
Dead End (Samuel Goldwyn) 4ilr
Double or Nothing (Paramount) iir
Double Wedding (M-G-M) 2*
*Every Day's A Holiday (Paramount) 3 It
Escape by Night (Republic) IVi*
Ebb-Tide (Paramount) Sit
Expensive Husbands (Warners) 2V2^r
52nd Street (Walter Wanger) 2*
Fight For Your Lady (RKO) 2*
The Firefly (M-G-M) 3*
First Lady (Warners) 3*
Fit for a King (RKO) 2*
Flight from Glory (RKO) 2*
Footloose Heiress (Warners) 1 ^Ir
Forty-Five Fathers (20th Century-Fox) 2 ★
Forty Naughty Girls (RKO) 2*
Frame-Up (Columbia) 2-*'
The Game that Kills (Columbia) 2-^-
Gangway (GB) SVi*
The Gold Racket (Grand National) 2*
The Great Garrick (Warners) 3-*
Headin' East (Columbia) 2i(
Heidi (20th Century-Fox) 3*
Here's Flash Casey (Grand National) 2"^
High, Wide and Handsome (Paramount) 3V2^
Hitting a New High (RKO) 2*
Hold 'Em, Navy (Paramount) 2*
Hollywood Hotel (Warner) 3*
Hot Water (20lh Century-Fox) 1*
Hurricane (Samuel Goldwyn) 3'/^!*:
Idol of the Crowds (Universal) 2*
I'll Take Romance (Columbia) 3i(
I Met My Love Again (Walter Wanger) 3*
In Old Chicago (20th Century-Fox) SVi*
It Can't Last Forever (Columbia) IVzie
It Happened in Hollywood (Columbia) iVzir
It's All Yours (Columbia) Sir
It's Love I'm After (Warners) Air
King Solomon's Mines (GB) 2*
Lady, Behove! (Republic) 2*
The Lady Escapes (20th Century-Fox) IV2*
■The Lady Fights Back (Universal) 1*
Lancer Spy (20th Century-Fox) 2*
The Last Gangster (M-G-M) 3-k
Life Begins in College (20th Century-Fox) 2*
Live, Love and Learn (M-G-M) 3-*^
Look Out, Mr. Moto (20th Century-Fox) 1 ★
The Life of Emile Zola (Warners) 4^
The Life of the Party (RKO) !★
Lost Horizon (Columbia) 4-^
Love and Hisses (20th Century-Fox) 3-k
Picture and Producer
Rating
General
Love Is on the Air (Warners) 2 ■A'
Love Takes Flight (Grand National) tV2-k
Love on Toast (Paramount) 2-jt
Love Under Fire (20lh Century-Fox) 21/2*
Madam X (M-G-M) IVi*
Make a Wish (RKO) 2V2*
*Mama Runs Wild (Republic) 1*
Mannequin (M-G-M) 3^r
Man-Proof (M-G-M) 2V2*
Married Before Breakfast (M-G-M) 2V2-*
Marry the Girl (Warners) IVi-ir
Mayerling (Nero) 4-ilr
Merry-Go-Round of 1938 (Universal) 2*
Missing Witnesses (Warners) 2'<lr
Murder in Greenwich Village (Columbia) 1 ^
Murder on Diamond Row (London Films) iVzir
Music for Madame (RKO) 2-ir
Navy Blue and Gold (M-G-M) 3*
New Faces of 1937 (RKO) 3*
Night Club Scandal (Paramount) 2-*lr
Non-stop New York (GB) 2*
Nothing Sacred (Selznick-lnternalional) 3*
One Mile from Heaven (20th Century-Fox) iVzit
On Again— Off Again (RKO) 1 ★
100 Men and a Girl (Universal) A-k
On Such a Night (Paramount) 1 ^
Ourselves Alone (GB) SVzif
Over the Goal (Warners) !★
Paid to Dance (Columbia) 1 ^
Partners in Crime (Paramount) 1 -^r
The Perfect Specimen (Warners) 3-k
Prescription for Romance (Universal) Mr
Portia on Trial (Republic) 3if
Prisoner of Zenda (Selznick-lnternalional) A-k
Reported Missing (Universal) 2-^
Renfrew of the Royal Mounted (Grand National) 2-^^
Rosalie (M-G-M) 3*
The Road Back (Universal) 3-^-
Roaring Timber (Columbia) 2^
San Ouentin (Warners) 2y2*
Saturday's Heroes (RKO) 21/2*
Second Honeymoon (20th Century-Fox) 2-k
Sea Racketeers (Republic) ^V2'k
She Asked for \t (Paramount) 2*
The Sheik Steps Out (Republic) 2*
Sh! The Octopus (Warners) 2*
She's Got Everything (RKO) 2*
She's No Lady (Paramount) 1 Vk-
Snow White and the 7 Dwarfs (Disney) 4-^^^
Small Town Boy (Grand National) 2^
Some Blondes Are Dangerous (Universal) 1 ^
Something to Sing About (Grand National) 2V2llr
Sophie Long Goes West (Paramount) 2V2'^
Souls at Sea (Paramount) 3ir
Spy Ring (Universal) 2llr
Stage Door (RKO) 4*
Sland-ln (Walter Wanger) 3*
Stella Dallas (Sam Goldwyn) 4-^^
Super Sleuth (RKO) Ilk-
Strangers on a Honeymoon (GB) 2-k
Submarine D-1 (Warners) 2^
Swing It Sailor (Grand National) 1 ^
Tarzan's Revenge (20th Century-Fox) tYzif
Tes Rides with the Boy Scouts (Grand National). . 2:*^
Texas Trail (Paramount) Or
The Shadow (Columbia) S-k
There Goes The Groom (RKO) 2^
That Certain Woman (Warners) 2-k
They Won't Forget (Warners) 3*
Thin Ice (20th Century-Fox) 31/2 ★
Think Fast, Mr. Moto (20th Century-Fox) 2*
This Way, Please (Paramount) fir
Thoroughbreds Don't Cry (M-G-M) 21/2*
Thrill of a Lifetime (Paramount) 1
Thunder Trail (Paramount) 2-^
Trapped by G-Men (Columbia) iV^if
True Confession (Paramount) A-k
The Toast of New York (RKO) 3*
Topper (Hal Roach) 'ik
Tovarich (Warners) 3^
True Confession (Paramount) 3^
Under Suspicion (Columbia) 2-^
Varsity Show (Warners) 3-*-
Victoria the Great (RKO) 4*
Vogues of 1938 (Walter Wanger) 3*
Wee Willie Winkie (20th Century-Fox) 4*
Wells Fargo (Paramount) 'ik
West of Shanghai (Warners) IVSi*
The Westland Case (Universal) 2*
White Bondage (Warners) 1*
Wife, Doctor and Nurse (20th Century-Fox) iV^-k
Wild and Woolly (20th Century-Fox) 2*
Wild Money (Paramount) 1 *
Wine, Women and Horses (Warners) 'ik.
Wise Girl (RKO) 3*
You're A Sweetheart (20th Century-Fox) 21/2-*:
*You're Only Young Once (M-G-M) 2*
You Can't Have Everything (20th Century-Fox).. 3-K
Turn to our Scoreboard when you're in doubt about what movie to see. It's a valu-
able guide in choosing entertainment. Instead of giving the individual ratings oi
Modem Screen and authoritative newspaper movie critics all over the country, we
have struck an average of their raUngs. You'll find this average under General
Rating, beside each picture. 4*, very good; 3-^-- good; 2-^:- fair; l-^T. poor. Asterisk
denotes that only Modern Screen ratings are given on films not reviewed by news-
papers as we go to press.
DOC MEDICINES
MODERN SCREEN
Beautiful, blue-eyed and
blonde, Phyllis Brooks proves
Hollywood is sometimes
very slow to recognize tal-
ent. Phyllis was a model
for several noted artists un-
til her picture in a tooth-
paste advertisement caught
the eye of film scouts who
gave her a screen test. The
roles that fell her way dissat-
isfied Phyl, and, refusing q
renewal of her screen con-
tract, she left for New York
and the stage. She was
given the coveted role of
second lead in the Broad-
way production of "Stage
Door". The favorable criti-
cism she received again
brought a film contract — ■
this time with 20th Century-
Fox. And now, watch Miss
B, for she's rocketing to star-
dom. Her new picture is
"Walking Down Broadway".
"MIDDLE-AGE' SKIN?)
DONTTRYTO SCARE ME...V^^
WH/ TM only 22 i
well, no wonder your powder
"flakes"! you've let your skin
GET SO DRY, lifeless, COARSE -
looking-... you've actually got
"middle-age"skin!
if you re smart,
you'll change to
palmolive soap
RIGHT away!
WELL, PALMOLIVE
CERTAINLY KEEPS
YOUR COMPLEXION
LOVELY, BUT WHY
IS PALMOLIVE
SO DIFFERENT?
THAT WAS A NARROW ESCAPE ! FROM
Mn\A/ nM iicim/ti om/v dai iuiai ii/c
BECAUSE PALMOUVE IS MADE WITH
OLIVE OIL... A SPECIAL BLEND OF
OLIVE AND PALM OILS! THAT'S WHY
ITS SO GOOD FOR DRY. LIFELESS SKIN.
IT SOFTENS, SMOOTHS, REFINES
SKIN TEXTURE. ITS GENTLE LATHER
CLEANSES SO THOROUGHLY, TOO!
LEAVES SKIN RADIANTLY
CLEAR! ^-^5
ILL GET SOME
PALMOLIVE
RIGHT AWAY!
MODERN SCREEN
Introduces
NEW BEAUTY
With the new, smart cr°me polish
in her trial kit for only 10 cents.
Revel in the fashion-right shades
of Rust, Robin Red, Old Rose,
Thistle, Cloverine, Tulip Red. Kit
contains bottle of nail polish,
polish remover, nail white, mani-
cure stick, cotton — all for 10
cents. Lady Lillian's Trial Kit is
on sale at 5 and 10 cent stores.
Approved by Good Housekeeping.
Special 3c Trial Offer
For single generous trial hottle send this
ad and stamp to LADY LILLIAN,
Dept. M-ii, 1140 Washington St.,
Boston, Mass. Specify shade you prefer,
MOVIE STARS
AUTOMATIC HAIR CURLER
★ BlAUmUl HAIR ... IN A
JIFFY . . . WITH ONE CURLCR
SELF-OPENING
BOB PINS
ON SALE AT DIME & DEPT. STORES EVERYWHERE
W & 20^
Boxes
SITROUX
AT
YOUR
SeutcC
XOcent
STORE!-
Stars of stage and screen pre-
fer Sitroux Tissues (pro-
nounced "Sit-true.") So soft,
yet so much stronger. They
hold together. Care for YOUR
complexion with Sitroux Tis-
sues. Get a box today !
There was a time when Stu
Erwin wanted to be tall, dark
and handsome — but he's over
that now!
BRIGHT BOY
(Continued from page 12)
But instead of a hayseed shuffling to
meet him, Mr. Sheehan was met by a good-
looking young man with keen grey eyes
and wearing excellently tailored clothes.
"Why — why," stammered Sheehan, "I
came to offer you the role of the hammiest
hick that ever saw celluloid, but how would
you like the romantic lead?"
"Thanks a lot," he said, "I'd rather be
the goof. I like those guys!"
That was nine years ago — but today you
would have as big a surprise as Mr.
Sheehan — were Stu Erwin pointed out to
you.
You would probably recognize Mrs.
Erwin first, for she looks like the movie
star she used to be. That same delicate
beauty which was June Collyer's alone.
And if you were fortunate enough to
WAKE UP YOUR
LIVER BILE...
Without Calomel — And You'll Jump
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Carter's Little Liver Pills by name. 25c at all
drug stores. Stubbornly refuse anything else.
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128
MODERN SCREEN
meet Stu Erwin you would find he has a
charm that is friendly and direct.
If you were twice as lucky and had a
chance to visit him in his home, you would
find your first impression backed up a hun-
dred per cent. More than likely the door
of that hospitable, rambling Spanish home
would be opened by Stu himself. The
whole house breathes the spirit of hospi-
tality right to the "play-house" at the back
where )'ou would probably be taken for
some fun. Maybe it would be for games
with the children, around whom the lives
of June and Stu revolve. There's Bill,
who's almost six. Bill is really named
Stu, Jr., and his dark eyes hold the same
twinkle as the eyes of his famous dad.
June Dorothea is three.
Or perhaps it would just be chatting
and sipping a drink in front of the huge,
open fireplace of the comfortable room.
You'd certainly hear about Stu's prize-
winning dogs. He has two bulldogs, a
Doberman Pinscher and six scotties— one
of which, Craghaven Clinker, is a national
champion. "And being in the dog house
isn't half bad," Stu will tell you. "My
purps have showerbaths, sunmachines,
private rooms and a special patio in theirs."
And you might hear of the latest shop-
ping expedition which Stu and June
went on. June loves clothes — and Stu,
believe it or not, could win Hollywood's
Best Dressed Man contest if he bothered to
enter the race. You'd probably hear about
Santa Anita, and the gay places they had
been lately. For they're beautifully bal-
lanced people, these Erwins, believing in
enjoying the world as much as they do the
contentment of home.
And particularly you'd love the stories
which Stu tells on himself and on his
favorite actress, June Collyer. Which
brings to mind one which June told us
once on her favorite actor. Stu had been
telling about visiting Bill in kindergarten.
"This modern education gets me," he said.
"The curriculum for children seems to con-
sist of drinking orange juice, taking naps
and playing games and then drinking more
orange juice. It's no doubt all right, but
methods have certainly changed since my
day."
"Perhaps it's just as well," mused Mrs.
Erwin, and then told this experience of
Stu's with the educational methods of his
day. Stu was in fourth grade at the time,
and his teacher just couldn't break him of
the habit of saying "I have went home."
She told Stu to remain after school and
write on the blackboard "I have gone
home" one hundred times. Having finished
the assignment, Stu left a note on the desk.
"Dear Teacher. I followed your instruc-
tions. And I have went home. Stuart."
Stu gave his first Hollywood party, oddly
enough, in New York City. It was eight
years ago, on his first trip there. He had
only a tiny apartment rented for his stay,
and after fitting chairs up to the table, de-
cided he could invite twenty. Ninety ar-
rived. Victor Moore, playing in a musical
show at the time, brought his whole com-
pany
Stu is as unaffected as was Will Rogers
-to whom he bears a striking resemblance
in manner and philosophy. There is the
same easy acceptance of human frailties, the
kind-hearted twist to every observation.
Will Rogers wasn't afraid to be simple,
either. Only men of big hearts dare to
pass up the affectations and emphasize the
humanness of their characters. Will Rogers
knew that people loved his homely heart.
And Stu Erwin knows that long ago he
was right in charting his course along the
route that was honestly human. The years
since have proved it — and the years to come
will bring more evidence to play on the
fact that Stu Erwin was smart when he
chose to be dumb.
Yesterday, romance was distant . . . today, love is singing
in her heart. That's because she discovered the secret of
allure — the magic fragrance of Blue Waltz Perfume — the
haunting, flower-like scent that no man can resist. ![You,
too, can win adoration. Dab the exquisite bouquet of Blue
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15
DIAMOND
To Introduce HOLLYWOOD'S
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Full of Blazing Fire (wom by Movie
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GOLD effect ring as illustrated (looks like
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back it not delighted. AGENTS WANTED.
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Now lift off
0
o
AND RELIEVE PAIN QUICKLY
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129
Annabella learned a
lot of Hollywood pic-
ture history when she
attended with Hubby
Jean Murat.
Another newcomer,
Danielle Darrieux,
attended with her
writer -husband,
Henri Decoin, below.
130
Pvinted in the U. S. A. by Art Color Printing Company, Dunellen, N. 3.
Radiant Eleanor Fisher— chosen from thousands of America's most dazzling
beauties in a great magazine's nationwide search for "Miss Typical America !"
— Her crowning reward now a chance at Hollywood heaven in Paramount's
new romantic achievement, "True Confessions!"
Of supreme importance in helping her to win, were Miss Fisher's beautiful
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JJDETTE COLBERT
- ir< Fitraojount's
tisisebeard's. Eighth Wife'
From Laughs to Tears
in 30 Seconds
Glaudette Colbert tells how the throat-
strain of emotional acting led her to Luckies .
4
"Emoting to order" is a real strain on the
throat. That's why an actress thinks twice
before choosing a cigarette. Miss Colbert
says: "After experimenting, I'm convinced
that my throat is safest with Luckies."
Ask a tobacco expert why Luckies are so
easy on the throat. He'll undoubtedly ex-
plain that the choice tobacco Lucky Strike
buys, makes for a light smoke. And he may
add that the exclusive "Toasting" process
takes out certain irritants found in <rz// tobacco.
Here's the experts' actual verdict. . . Sworn
records show that, among independent tobacco
experts not connected with any cigarette
manufacturer, Luckies have twice as many ex-
clusive smokers as all other brands combined.
^C^r^" WITH MEN WHO KNOW TOBACCO BEST- IT'S LUCKIES 2 TO 1
UNDREDS OF PICTURES IN THIS ISSUE!
cmn
's OF ANY-/SCREEN
ITH IRRESISTIBLE PERFUME
MODERN SCREEN
' d have Plenty
i„esvst>b\en\ Zd special care^
that gw'W^ ^^^^^^m
1
"k. Lovelier Smile would make you niore attractive!
A GAY, friendly smile, revealing
sparkling teeth, is so appealing.
The girl who has a lovely smile can't
help but win! Tragic that so many girls
lose this charm through carelessness —
tragic that they neglect the warning of
"pink tooth brush" — let teeth that are
lustreless and dull actually spoil their
own good looks!
If you've seen a tinge of "pink," see
your dentist. It may be nothing serious,
but let him decide. Usually, however.
he'll tell you that it's only another case
of gums deprived of exercise by our
modern, creamy foods. And, as so many
dentists do, he'll probably advise more
work and resistance — the healthful
stimulation of Ipana and massage.
For Ipana, with massage, is especially
designed to help keep gums healthy, as
well as keep teeth sparkling. Every
time you brush your teeth, massage a
little extra Ipana into your gums. As
circulation in the gum tissues increases.
gums tend to become firmer, more re-
sistant to trouble.
Change to Ipana and massage — and
change today! Let this very practical
dental health routine help you to have
firmer gums, brighter teeth— a lovelier
smile!
* * *
DOUBLE DUTY— Ask your druggist for
Rubberset's Double Duty Tooth Brush,
designed to massage gums effectively
as well as to thoroughly clean teeth.
I
pa na
Cruel Words
...iutsheicnew
she deserved ttiem
MODERN SCREEN
She knew that frequent headaches and lack of pep
had begun to get on her nerves. But she didn't quite
realize how irritable she had become, how hard to
get along with — until one night her fiance lost his
temper and threatened to break their engagement.
She was frightened, but she still could hardly be-
lieve that her constipated condition was back of it
all. Then —
A friend advised —
and the world looked
brigiiter
What a wonderful thing for this girl that on a
friend's advice she got FEEN-A-MINT promptly!
This famous laxative in delicious chewing gum re-
lieved her constipation and the troubles it caused —
gently, effectively, and easily. She found, as you will
too, that no other type of laxative CAN do exactly
what FEEN-A-MINT does. FEEN-A-MINT is so
thorough, so dependable — so different.
You get ALL THREE of these
important benefits in FEEN-A-MINT
* NO STOMACH UPSET — With FEEN-A-
-^^r MINT you don't swallow a heavy, bulky
w\ dose; there is nothing to further burden
an already overburdened digestion.
t CHEWING AIDS DIGESTION— The chew-
ing stimulates the flow of the same natural
alkaline fluids that help food digest.
A ACTS WHERE YOU NEED IT- FEEN-A-
MINT'S tasteless laxative ingredient does
W\ not affect stomach action. It passes to the
intestine and does its work where it should
— easily, pleasantly, comfortably.
FEEN-A-MINT won't gripe or nauseate you— won't
disturb sleep. Your whole family will appreciate this
modern laxative— children especially. 16 million peo-
ple have already changed to FEEN-A-MINT -do
yoarfolks a favor and get FEEN-A-MINT today! At
^ all druggists, or write for gen-
erous FREE trial package,
Dept.67, FEEN-A-MINT,
■jivtom- Newark, N. J.
DELICIOUS
Tastes like
your favorite
chewing gum
Regina Cannon..../ Editor
Leo Townsend. ..J... .Hollywood Editor
Abril LamarqueyC Art Editor
Copyrisht, 1938, by Dell Publishing Co. Inc.
NOW SHOWING
THE PUNCH THAT'S JUDY 8
MUTUAL BENEFIT ASS'N. 34
HIS LIFE'S EXCITING 36
HAS SHE ANYTHING LEFT TO WANT? 38
GLAMOR FOR RENT 40
THAT THING CALLED TEMPERAMENT 42
SMALL TOWN GIRL 44
STRANGER THAN FICTION 46
BLUFFS THAT WORKED 48
PRESTO CHANGE-O 50
LOVE AT FIRST SIGHT 52
VANISHING AMERICAN 54
THOSE HOLLYWOOD MEN 55
IS YOUR BEAUTY PROBLEM HERE? 56
THE BEWILDERING BRADY 58
SPUNKY SPANKY
SHORT SUBJECTS
FRENCH FOR DELICIOUS 10
OUR PUZZLE PAGE 12
INFORMATION DESK 16
REVIEWS 20
NEEDLE WORK 24
PORTRAIT GALLERY 27
OFF THEIR GUARD 59
GOOD NEWS 72
MOVIE SCOREBOARD 80
BETWEEN YOU 'N' ME 86
ACCENT ON SPRING 98
ROBERT MclLWAINE
KATHARINE, HARTLEY
FAITH SERVICE
GLADYS HALL
CAROLINE S. HOYT
FRANC DILLON
KAY., PROCTOR
GLADYS_HALL
DORA ALBERT
RILLA PALMBORG
IDA ZEITLIN
IDA ZEITLIN
ELEANOR PACKER
MARY MARSHALL
MARTHA KERR
116 MERLIN PIERCE
SIMONE'S FAVORITES
MOVIE X-WORD
QUESTIONS ANSWERED
WHAT TO SEE
THINGS TO MAKE
FOR YOUR ALBUM
CANDID SHOTS
MOVIE CHATTER
FILM GUIDE
PRIZE LETTERS
NEW FASHIONS
Modern Screen No. 301773. Published monthly by Dell Publistiins Company, Incorporated Office
of publication at Washinston and South Avenues, Dunellen N, J. Executive and editorial offices,
149 Madison Avenue", N. Y. Chicago, III., office, 360 N. Michigan Avenue George T. Delacorte,
- ■ .. r.' > 'ice-President, J. F. Henry, Vice-President, M. Delacorte, Secretary.
Jr
„ President; H. Meyer, Vice-fresiaent, j. r. nenry, v n.B-riBsiuo..;, .v,.
Vol 16 No 6^May, 1938. Printed in the U. S. A. Price in the United States, $1.00 a year,
10c a cipy. 'Canadian subscriptions, $1.00 a year Foreign subscriptions $2.00 a year Entered
as second class matter, September 18, 1930, ot the Post-office Dunellen New Jersey, under act of
March 3 1879 Additional second class entries entered at Seattle, Washington, San froricisco,
California; and Houston, Texas. The publishers accept no responsibility for the return of unsolicited
material Sole foreign Agents: The InternationcI News Company, Ltd., 5 Breams Building, London,
E C 4 England. Names of characters used in stories and in humorous and semi-hctional matter are
fictitious If the name of a living person is used it is purely a coincidence.
4
MODERN SCREEN
WHITE GODDESS OF THE
JUNGLE BARES HER HEART!
AT the altar of the Crocodile God,
/«. while the drums of voodoo
sound the terrible tocsin of jungle
hate, she stands, thrilling, beautiful
Tura, high priestess of a cult so
strange, so weird, no white man has
ever lived to describe its awesome
rites. At her feet, shackled, helpless
in the iron grasp of
voodoo-maddened tribes-
men, is the young avi-
ator who has taught her
the meaning of a white
man's love. Behind her,
sinister, threatening, the
all-powerful ruler of the
Malayan wilds, Kuasa,
gives the dread com-
Paramount presents the
first jungle picture ever
filmed in Technicolor.
MODERN SCREEN
mand .... Will she obey — will she send this
man who loves her to a hideous death in the
crocodile pit — or is her love great enough to
withstand the fury of jungle hate?
And what a story this is, the drama of the
mysterious girl of the Malayan wilds and the
young English aviator who invades her jungle
realm, falling like a meteor from the tropic
skies. You will thrill to the first words of their
love, spoken to the whispering melodies of
THE PLANE CRASH IN THE JUNGLE
. . .The most thrilling action- picture
ever filmed in Technicolor.
the wind through tropic palms
beneath the jungle moon. You
will thrill to the dangers into
which this love hurls them . . .
dangers which defy the telling,
dangers which must be seen in
all the radiant excitement of this
great natural color film to appreciate their
amazing, thundering, emotional power. The
mighty jungle typhoon . . . the amazing charge
of the crocodile legion., .the great earthquake
. . . scenes like these mark the dawn of a new
epoch in the history of moving picture ad-
venture - drama, adventure - romance.
HEAR DOROTHY LAMOUR, golden
voice of the networks, sing " Lovelight In
the Starlight" and "Coffee and Kisses".
ADOLPH ZUKOR PRESENTS^
Dorothy Lamour- Ray Milland
■ Hffft JUNWfi"L'OVE«
LYNNE OVERMAN • dorothyhowe • j. carrol naish
DIRECTED BY GEORGE ARCHAINBAUD • IN TECHNICOLOR
Screen Play by Joseph Moncure March, Lillie Hayward & Eddie Welch
Based on a Story by Gerald
Geraghty and Kurt Siodmak ^
A PARAMOUNT PICTURE
IF YOU can't be terrific, then don't
try at all," advises Judy's sister.
There are three Garland girls, but
it took the very youngest member of
the trio to deliver the punch that rang
the gong of fame.
Judy has only been around four-
teen years, but she's made each and
every one of 'em count. Born in
Murfi-eesboro, Tennessee, Miss Gar-
land had only seen tw^o summers
when she embarked upon the road to
success. It seems that during a
Christmas performance, little Judy
was allowed to speak her piece — or
sing it.
"I wanted to sing, so they let me
go on for one verse of 'Jingle Bells.'
Finally, I was coaxed off after about
ten stanzas and I guess I'd still be
THAT'S JUDY
there if they hadn't used a little force
with their persuasion. One reason I
got away with it all might be because
Dad owned the theatre," explained
Judy.
Even at this tender age, Judy had
plenty of punch and was the type
that, given an inch, invariably took
a mile. Perhaps this is one of the
reasons she is a star today.
Recently the Garlands visited New
York and Judy made personal ap-
pearances. We saw her backstage in
her dressing-room. The happy young-
ster was surrounded by flowers,
make-up and costumes equal to any
prima donna's, but featured none of
the formalities of a lady warbler.
Curled up in a comfortable chair,
Judy was busily engaged doing her
BY ROBERT McILWAlNE
lessons for next day. It seems that
dvu'ing her brief sojourn in the
East she was accompanied by a
tutor. He had gone to the country,
but left a little reminder behind. It
read : "Since we did not cover the
French verbs today, will see you
tomorrow (Saturday). Please be
prepared."
Even though Judy's mother and
sister are usually present, little Miss
G. does her own talking. She is
smart and poised without being pre-
cocious, and her vivacious person-
ality is a factor of her extreme
popularity.
Between her studies and the five-a-
day at a Broadway theatre, she had
managed to see her boss's doctor- — •
just in case. (Continued on page 14)
SHE'S ONLY BEEN AROUND FOURTEEN YEARS, BDT, OH, HOW SHE'S MADE 'EM COUNT
8
MODERN SCREEN
CAROLE
DON'T TELL A SOUL ! . . .
FERNAND
LOMBARD-^GRAVET
eir romance is
scandallcious,
scandalovely,
scandalirious!
A FIRST NATIONAL PICTURE
presenfed by
MODERN SCREEN
FRENCH FOR
DELICIOUS
BY MARJORIE EEEN
Oo! la! la! you'll
adore Simone's
pet strawberry pie!
In the words of the popular song,
"Spring Is in the Air !" Yes, in the florists'
windows as well as in the gardens, on
the fashion pages as well as in the shops,
everything helps to back up the calendar's
contention that once again, definitely, offi-
cially (and happily) it's spring. In our
culinary department, too, the season has
us, it seems. For here — as timely as the
robins, as cheery as the daffodils — are
Simone Simon's suggestions for the sort of
dainty fare that will serve as a spring tonic
for your menus, lifting them out of the win-
ter doldrums into the realm of the unusual.
But wait a bit ! Did that word "unusual"
throw you for a minute? Well, it needn't.
For though the foods Simone recommended
have a French "accent" as intriguing as her
own, the recipes specify no strange ingre-
dients that you never heard of. Nor do
they call for rare viands difficult for any-
one except a linguist or a world traveler
to procure. Indeed not, for as with most
French cooking, it is the combination of
foods, the delicacy of flavoring and above
all the excellence of the sauces that give
distinction to the dish and serve to prove,
to even the most skeptical, that France is
richly entitled to the culinary laurels she
wears so proudly.
So says Simone, at any rate. Further-
more, she went on to prove her point by
10
providing us with two or three well chosen
recipes. Who, then, are we to argue? We
can far better profit by following her direc-
tions for preparing Petits Pois Nouveaux
a la Francaise, Poulet a la Fagon de Sim-
one and Omelette aux Fraises. Which, my
pets, in plain English is simply new peas
fixed delectably in the French fashion,
chicken cooked according to Simone's fa-
vorite recipe and a strawberry omelet that
will delight all who try it, whether it is
served as a main course luncheon dish or
as a dessert.
Nor must we overlook another dessert
treat for which Simone expressed real en-
thusiasm, even though it bears no fancy
French title. It's Strawberry ChilTon Pie !
And it's as spring-like a sweet as one could
imagine, according to our piquante little
star who was first introduced to this light,
frothy concoction at the Cafe de Paris (20th
Century-Fox's own restaurant) during the
making of "Josette." From now on, Simone
assures me, she will order the season's
most popular fruit in this form whenever
it appears on their menu.
So, with this assurance, I lost no time in
getting the recipe to add to the others she
had provided. I was also fortunate in being
able to procure a picture that would give
you some idea of what this pie looks like
when made according to the directions that
I'm passing along here for all of you to
try. Unfortunately, no picture in black and
white could do justice to the delicate color
that adds so much to the appeal of the
dessert in question.
Piquant and French,
Simone Simon loves
unusual delicacies.
Here, then, you'll find this and other
recipes for Simone Simon's favorite foods,
carefully tested and simple enough for all
to follow. So get busy with the scissors
or the pencil (you see, I take it for granted
you will want to keep copies ! ) and try
these French dishes. In so doing you'll
discover for yourself just what the French
word for delicious — which is delicieux, by
the way — really means!
NEW PEAS, FRENCH STYLE
2 tablespoons butter
6 small white "pickling" onions
2 cups shelled, tender young peas
1 head hearts of lettuce
yz teaspoon salt
1 tablespoon sugar
2 tablespoon water (or, preferably, chick-
en broth)
Melt butter in a heavy saucepan or
Dutch oven. Add onions and brown them
slightly. Add peas and the head of let-
tuce cut into eighths. Season with salt and
sugar. Sprinkle with the water or broth
and cover tightly. Cook gently until peas
are tender. Some chefs also recommend
the addition of a little parsley and chervil
during the cooking.
MODERN SCREEN
STRAWBERRY CHIFFON PIE
1 pint of strawberries
3 egg yolks, slightly beaten .
Vz cup sugar
1 tablespoon lemon juice
1 package strawberry flavored gelatin
Yi cup hot water
54 teaspoon salt
3 egg whites, stiffly beaten
Wash and hull berries. Crush enough
berries to make % cup pulp and juice, re-
serving remaining berries to use as a gar-
nish. To beaten egg yolks add one half of
the sugar and the lemon juice. Cook in
double boiler until it will coat spoon, stir-
ring constantly. Remove from heat. Stir
in the strawberry gelatin which has been
dissolved in the hot water. Add the % cup
of fresh strawberry pulp. Chill in bowl
in refrigerator until slightly thickened.
Beat salt and remaining sugar into the
stiffly beaten whites. Fold lightly into gela-
tin mixture. Pour into cold baked pie shell
or one of the popular graham cracker or
cornflakes shells. Chill until firm. Before
serving, garnish WWi whole berries.
STRAWBERRY OMELET
1 pint strawberries
cup granulated sugar
1 tablespoon orange juice
1 teaspoon grated orange rind
4 eggs, slightly beaten
3 tablespoons cream
1 tablespoon powdered sugar
54 teaspoon salt
3 tablespoons butter (preferably sweet)
Select 1 dozen of the firmest berries in
the box. Sprinkle these with 54 cup of the
granulated sugar. Add orange juice and
rind and allow to stand for 5^ hour before
starting omelet. Mash remaining berries,
add remaining 54 cup sugar. Stew gently
for 5 minutes. Beat eggs only until mixed,
add cream, powdered sugar and salt. Melt
butter in omelet pan, pour in the egg mix-
ture. Cook omelet gently, lifting edges
with a fork as the omelet becomes firm on
the bottom so that the uncooked portion
can run underneath and cook. When ome-
let is fairly firm, but not quite done, spread
the uncooked berry mixture over the top
of it. Cook a minute or two longer. Shake
pan gently to loosen omelet, cut two slits
in the omelet at right angles to the handle
and fold over carefully with a spatula.
Transfer to a heated platter and pour over
it the hot cooked syrup and serve.
CHICKEN FAVORITE
1 broiler (2^/2-3 pounds)
54 cup butter
1 small bud of garlic
5^ teaspoon salt
a few grains pepper
1 tablespoon flour
1 cup water (or stock made by boiling
neck, wing .tips and giblets)
5/2 cup red wine (Bordeaux)
a tiny pinch of thyme
54 bay leaf
1 teaspoon minced parsley
54 pound fresh mushrooms, cooked
Have broiler cut into small pieces as for
fricassee. Dust lightly with salt and pep-
per. Melt butter in a skillet. Cook garlic
bud in the butter for 5 minutes. Remove gar-
lic, add chicken and fry to a golden brown.
Remove browned chicken to a baking dish
or earthenware casserole. To the fat re-
maining in the pan, add salt and flour.
.Stir until blended. Add water or stock,
cook until smooth and thickened. Add red
wine, thyme, bay leaf, parsley and mush-
rooms. Stir until thoroughly blended, then
pour over cliicken. Cover tightly. Bake
in moderate oven (375° F.) until chicken
is tender (about 1 hour). Add cooked mush-
rooms last 10 minutes of cooking. .Serve in
casserole surrounded by cooked vegetables.
MATILDA: There.'That's why the bride's hav-
ing plentv of grief, Susan — look what's in
her box of groceries!
SUSAN: Never mind, Matilda, pick up vour
skirts and run! I don't think that dog likes
old ladies.
MATILDA: But, Susan, you know it's that
weak-kneed soap the bride buys that leaves
dirt sticking in her clothes. She'll never get
rid of tattle-tale gray — if we don't show her
the right kind of soap to use.
SUSAN: But the dog! . . .
MATILDA: Don't be a 'fraidy-cat— I'll take
care of the dog. You take that lazy soap out
of the bride's groceries and put in our bar of
Fels-Naptha Soap.
SUSAN: Nice doggie! We're only trying to be
helpful. We're only trying to show the bride
how to get whiter washes.
MATILDA: Yes, doggie. Fels-Naptha's richer
golden soap and lots of naptha get clothes so
clean, tattle-talc cr.n siinplv It.ts ro scinipcr.
"^^o put Was
^ this f^^^ies.
as bri u y°^r u ^~
f^^s-Wapt^a h
Clothes! ^^de
bride n
" "^^t door
938, FELS
BANISH "TATTLE-TALE GRAY" WITH FELS-NAPTHA SOAP
They do wonders! Try the new Fels-Naptha Soap Chips, too!
11
MODERN SCREEN
a^^^^^f^i^
—by the lure of Tangee lips with their appeal-
ing rosy softness. They detest a "painted
look"! Tangee contains no paint— never coats
the lips with ugly red grease. It gives a lovely
glow that best suits your natural color —
whether blonde, brunette or red head.
Tangee looks orange in the stick... but
changes on your lips to a warm blush-rose
shade, blending perfectly with your com-
plexion. Its special cream base keeps lips soft
and smooth. Try Tangee. 39^' and Sl.lO. For a
natural matched appearance, use Tangee Face
Powder and Tangee Rouge.
Untouched — Lips left
untouched are apt to have a
faded, parched look.
Greasy, paintedlips —
Don't risk that painted look.
Men don't like it.
Tangee lovable lips —
Intensifies natural color,
ends that painted look.
Tl World's Most Famous Lipstick
ENDS THAT PAINTED LOOK
BEWARE OF SUBSTITUTES! There is only
one Tangee — don't let anyone switch you. Be sure
to ask for TANGEE NATURAL. If you prefer more
color for c'.coi'fi; ii r-ir, uJcfoT Tangee Theatrical.
4 PIECE MIRACLE MAKE-UP SET
and FREE CHARM TEST
The George W. Luft Co., 417 Fifth Ave., N. Y. C.
Please rush "Miracle Make-Up Set" of sample
Tangee Lipstick. Rouge Compact, Creme Rouge and
Pace Powder, I enclo.se lOi! (stamps or coin). (15(}
in Canada.) Also send FREE Tangee Charm Test.
Check Shade of □ Flesh □ Rachel □ Light
Powder Desired Rachel
Adiiress
Xinf.e
OOR PUZZLE
JCROSS
1. First name of star pictured
6. Laboratory : coll.
9. Last name of 1 across
14. Col. Ferris in "Gold Is Where You
Find It"
15. Small fresh water fish
16. Group of illustrious persons
18. Lounged
19. An insertion
21. Aquatic fish-eating mamwals
23. Leave out
24. Pauline
26. Hero of "Bringing Up Baby"
28. Hugo Borg
29. Bandleader in "Love and Hisses"
30. Ginger Rogers' ex-husband
31. Chiefs
33. Employ
34. Build
36. Varnishes
38. Antiquated
40. "In Chicago"
42. Oglers
43. Kind of discharge
44. Our hero first starred in "
Blood"
48. Storm
52. Alcoholic beverage
53. French coin
54. Anger
55. Tony - - - tin
56. Applaud
Answer to Puzzle on Page 107
58. North central state: abbr.
59. Sally in "Sally, Irene and Mary"
init.
60. Popular term for microphone
61. Principal feminine player
63. Retails
65. Stores in a silo
66. Our star married one
67. Distress signal
68. Boiling
73. A kind of loving cup
74. Mrs. Mason in "First Lady"
77. "The Buccaneer"
79. Parlor game
83. " Dancing Daughters"
84. First Jewish high priest
86. The Barrymores' sister
88. Old Dutch measure
89. Spoken
91. Cut of meat
92. Hawaiian wreaths
93. Phillip Reeves in "Change of
Heart"
94. Last name of our star's w'fe
96. Exclude
98. Suit-maker
100. Famous Biblical dancer
102. " Dollar Raise"
103. Where our star was educated
104. Yvette in "Love and Hisses'
105. Comedian who died recently
106. Lance
12
MODERN SCREEN
A G £
OWN
1. Mrs. John Barrymore
2. Cooper's pal in "Souls at Sea"
3. Jack La
4. Queerly
5. Frances Farmer's husband: init.
6. Amy in "Jezebel"
7. Public notices
8. Morgan's wife in "Beg, Borrow or
Steal"
9. Fortepiano : abbr.
10. Bob Anders in "Highway Racke-
teers"
11. Still
12. Young insects
13. Birthmark
14. One newly arrived
17. "Ladies Must "
18. Part of the ear
19. Star of "The Awful Truth"
20. Chinese weights
22. Dirk
25. Native metal
27. A short-napped fabric
30. Volume of maps
32. Froth
35. Portable bed
37. "You and - -"
39. Viper
41. The Quints
43. Our star was in "The
Specimen"
44. Hiding place
45. Male star of "Sally, Irene and
Mary"
46. Kinds of fruit
47. Undraped figures
48. Coronet
49. "The Life of Zola" ''
50. Motives
51. Lock of hair
57. Hover
60. Mrs. Francis Lederer
62. Massey
64. Photograph from a movie
68. Plant of the arum family
69. Star of "Merrily We Live"
70. Helen Br - - erick
71. Birthplace of star pictured
72. Metric measure of capacity
74. Our star's latest, "The Adventures
of Robin "
75. Subtle emanations
76. Plays
77. Jane man
78. "Sweetheart of Sigma "
80. Star of "A Yank at Oxford"
81. Claw of an animal
82. A sheaf
85. The poplar
87. Impede : law.
90. First name of our star's wife
93. Girl's name
95. "The Adventures of Sawyer"
97. Guy Kib---
99. Priscilla, Rosemary and Lola
L---
101. G - - e Raymond
103. Al To - - on
OHLY NICE GIRLS WANTED
NO OTHERS NEED APPLY
Just one hint of
underarm odor, and a girl
misses out with men
Eleanor's got everything— at least that's
what men think. And yet she's not the
prettiest girl in the world ... nor the very
best dancer. Why then is she so popu-
lar? Why is it always Eleanor who
dances every dance?
Any OTtfwcould tell you one reason why!
Eleanor is always siveet, nice to be near...
Eleanor never risks underarm odor!
And Eleanor would tell you: "I take a
daily bath, of course, but I never think
it's enough! A bath takes care only of
past perspiration— it can't prevent odor
to come. Underarms must have special
care. So after every bath, and before
every date, I always use Mum!"
Simply and surely, Mum makes per-
spiration odor impossible. Protect your
charm, yonr popularity — with Mum.
MUM IS SURE! No matter how long or
how late you dance, trust Mum to keep
you fresh. Just a dab under each arm—
and you're safe.
MUM IS QUICK! Just half a minute to use.
Apply Mum even after you're dressed. It
will not harm fabrics.
MUM IS SAFE! Mum does not Stop health-
ful perspiration, but it does stop every
trace of odor. Even after underarm shav-
ing, it actually soothes the skin!
NO WORRIES FOR THE GIRL WHO USES MUM
TO »£AS£if —
I CAN EASILY TELL THAT
MUM HAS KEPT ME
SWEET. JIM HATES
TO SAY
GOOD NIGHT I
For Sanitary Naplcins —
No ivorries or embarrass-
ment ivhen you use Mum
this way. Thousands do, be-
cause it's SAFE and SURE.
Mum
TAKES THE ODOR OUT OF PERSPIRATION
13
MODERN SCREEN
Di:Scho/fs
for EVERY FOOT
TROUBLE
THE PUNCH THAT'S JDDY
(Continued from page 8)
Famous Hollywood Stars take no chances
with their feet, for faulty posture and ugly
foot blemishes can easily ruin their careers.
At the first warning twinges of foot pain, many of
them use DR. SCROLL'S for they know that
When Your Feet Hurt You Hurt All Over
Follow the Stars! If you have corns, callouses,
bunions, tired, aching feet, fallen arches, burning or
itching feet, ingrown nails — or any other foot trouble
go at once to your Drug, Shoe, Department or 10c
Store and get Dr. Scholl's Relief for it.
CORNS — SORE TOES
Dr. Scholl's Zino-pads instantly re-
lieve pain and remove corns.
Thin, soothing, healing. End
cause — shoe friction and pressure
—prevent corns, sore toes, blisters
and tender spots.
CALLOUSES
Dr. Scholl's Zino-pads, special size
for callouses, relieve pam quickly,
safely loosen and remove the
hard, dead skin. Stop pressure on
the sore spot ; soothe and heal.
BUNIONS
Dr. Scholl's Zino-pads, special size
for bunions, give instant relief to
tender or enlarged joints ; remove
shoe pressure on the sore spot.
Thin, protective, healing.
SOFT CORNS
Dr. Scholl's Zino-pads, special size
for corns between toes, relieve
pain in one minute ; take pressure
off the sore spot; quickly, safely
remove soft corns.
ACHING, TIRED FEET
Dr. Scholl's Foot Balm is a sooth-
ing application for tired, aching
feet, muscular soreness, tenderness
and burning sensation caused by
exertion and fatigue. Analgesic
and counter-irritant.
EASES FEET
Dr. Scholl's Kuroiex,ivelvety-so(t,
cushioningplaster;relieves corns,
callouses, bunions, tender spots;
prevents blisters. Flesh color.
Easily cut to any size or shape.
TENDER FEET
Dr. Scholl's Foot Poivder relieves
sore, tender, hot, tired, chafed or
perspiring feet. Soothing, healing,
comforting to skin irritations.
Eases new or tight shoes.
DrScho/lk
FOR ALL FOOT TROUBLES
REMEDIES-PADS-PLASTERS-ARCH SUPPORTS
"Mr. Mayer wanted me to have cold
shots so I wouldn't be sick," Judy ex-
plained. "They aren't so bad, but they do
hurt my arm. Each time the nurse says,
'Turn your back and this won't hurt one
bit.' When it's all over she says, 'Now,
didn't I tell you it wouldn't hurt?' I
feel like saying, 'Oh, no! Only when you
stick . it in my arm and pull it out. The
rest I don't even feel !' "
When Judy was on the stage you could
hear a pin drop. Dressed simply in a white
dress, which might have been for the gradu-
ation of any fourteen-year-old, she held her
audience spellbound. Each number she sang
brought deafening response.
Complimenting Judy on her good taste,
she quickly gave the credit where it was
due.
■'Thank you, but my accompanist should
get the credit because he picks out all my
clothes and the flowers I wear, too."
Then came the surprise for the day.
Judy's mother brings her a present each
day and this time it was a stuffed dog
that delighted its new owner no end.
"Oh, Mumm.y, he's adorable aiid looks
almost real," Judy exclaimed with glee.
"You know, I have two real live ones at
home. One is a German Shepherd and
the other's just dog — y'know, the fifty-
seven variety kind !
"Honestly, everyone is so wonderful to
me I 'most feel like crying sometimes. I
don't even get tired doing the shows be-
cause when I come out there are lots of
people waiting for me. I think it's so nice
of them to want me to sign their books,
don't you? But, there is a cop downstairs
who thinks I'm pretty bad," Judy confided.
"Yesterday I walked to the window to look
out and everyone began to throw up their
books for me to autograph. Everything
was fine till one hit me on the nose when
suddenly I heard an awful commotion. I
looked out and the traffic was blocked by
people just standing around looking up.
The cop was awful mad.
WE were coming down to the theatre
in a taxi today and the driver said,
'You folks are actors, ain't you?' I told
him we were acrobats ! Then he said, 'I
thought so. Who is this Judy Garland
kid?' I almost said, I know her and she's
an awful brat! But, then I remembered
that you have to be careful because he
might have relatives on the newspaper."
Of all the shows in New York, Judy
picked George M. Cohan in "I'd Rather
be Right" and Ed Wynn in "Hooray for
■What" to see. She was quite frank as to
her reasons, saying that she could learn
so much in the acting line from them.
After the final curtain it was Miss Gar-
land's idea to go backstage and have a. talk
with Mr. Cohan and receive a few pointers,
which she explained helped her immensely
in her very first appearance at the State.
Proving that this sagacious Miss, chock
full of punch, has plenty on the ball. Men-
tion of her pictures and those lovely brown
eyes fairly danced.
"I liked the latest best of all," Judy be-
gan. "Maybe because it's my first real
honest-to-goodness part.
"In 'Everybody Sing', I worked with
Miss Fanny Brice and we had some grand
numbers, especially one I do in black face
with a real southern drawl ! Gosh, I guess
I'll be pretty glad to get back home."
"Judy, how about Mickey Rooney? You
did a marvelous job with him in 'Thorough-
breds Don't Cry.' "
"Oh, Mickey is my best friend and my
favorite actor. You know, I think he'll
be another Spencer Tracy some day. He's
awfully funny though about trying to be
grown up. You know, we go to the same
school and the other day we were supposed
to play some games, but Mickey flatly re-
fused. He said they were too silly and it
wasn't playing with us that he objected to,
but to the childish games. He smokes a
pipe and the minute class is out he runs
around the corner, lights it up then comes
back puffing and smoking like a steam
engine. And the pipe is almost as big as
he is, so it makes him look very young.
"Mickey's awfully generous with his
praise and likes to tell people when they
are good because he thinks it encourages
them. He congratulated Spencer Tracy
on his performance in 'Captains Coura-
Mail in Envelope or Paste Coupon on Penny Postcard
FREE Foot Book, also sample of Dr. Scholl's Zino-
pads for Corns. Address Dr. Scholl's, Inc., Chicago,Ill.
Name .
Add<r'
Katharine Hep-
burn and Gary
Grant "Bringing
Up Baby" — and
not much more
baffled than
most parents.
14
Judy Garland, with admirer,
looks happy because she is to
play "Dorothy" in "The Wizard
of Oz."
geous'. Mr. Tracy must have been very
appreciative for he said, 'Thanks, Micl-cey.
Coming from you, it's a real compliment.'
"Once someone wrote that I said Freddie
Bartholomew would be another Ronnie
Sinclair. Why I wasn't even interviewed !
Can you imagine that!"
npHOUGH her experiences have been
extremely interesting, each shows that
it's the punch in Judy that puts her across.
In fact, her entrance to movieland proves
an excellent illustration.
"All this isn't very new to me because
I've been on the stage for ten years. Never
headlining before, but we always worked
steadily.
"My two sisters and I formed a singing
trio. Once we almost played New York,
but I got homesick so we turned around
and went home. I guess we'd still be sing-
ing if Suzanne hadn't gotten married.
"Since we lived in Los Angeles, I de-
cided that I should work in the movies.
I thought Mr. Mayer's company was the
best so I told them I had come to work.
They laughed and wanted to know if I'd
had experience. When I said eight years
on the stage they said, 'All right, let's see
what you can do.' I auditioned and they
gave me a job in 'Every Sunday.' After
that, it was easy.
"The only hard thing at first was to
get on to the way you have to act for the
camera. On the stage everything is timed
fast, but if you do that in a picture you'll
overact something awful."
Judy Garland's punch is probably re-
sponsible for her aptitude in learning
quickly, for not long ago Beulah Bondi,
one of the finest actresses, said it took her
three years to acclimate herself to movie
technique. ' But not Judy Garland !
MODERN SCREEN
Give your complexion this germ-free
care which helps safeguard lovely
"Camera Skins" from needless faults
WHEN a blemish appears, do you just
add a shade more make-up to hide
the flaw? But you can't be indiiferent to
the germs that may be the cause!
Young Hollywood stars are faithful to a
two-way beauty plan. Simple foods, lots of
rest; and daily use of Woodbury's Germ-
Woodburys
Germ-Free Cold Cream
free Cold Cream, to keep the skin clear.
"How sensible", you'll say, when you
admire a "Camera Skin" like Heather
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Name .
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City Slate .
IS
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16
INFQRmATION
DESK
THE BAROMETER TELLS A SIX MONTHS' POPULARITY
STORY. ARE YOU BOOSTING YOUR FAVORITES?
JOEL McCREA (Secontl
printing) Joel McCrea
is one of the few dyecl-in-
the-wool Californians to
be found in Hollywood.
Not only is be a native
son, but his two grand-
fathers were bound up
in the early history of
the state. One arrived
via covered wagon with the "jlO-ers and es-
tablished the first hotel in San Francisco
The other came West with the Army to fight
Indians in the 'TO's. By the time Joel arrived
on the scene in South Pasadena on a certain
November 5th, the pioneering was over and
the McCreas were socially established . and
well-to-do. When Joel was a young child they
moved to Hollywood, where he attended the
Hollywood School For Girls-a shanie he
shares with Douglas Fairbanks, Jr. There
was no other private kindergarten m the
town so especially nice little boys were sent
there in spite of their protests. Hollywood
Hio-h School was the next step, and then
Pomona College-that cradle of movie heroes
—where he distinguished himself as an ath-
lete Dramatics were also his specialty, and
his movie ambitions were born when Director
Sam Wood came to see a college play m
which his daughter Jean and Joel played the
leads Encouraged by Wood, he decided on
a picture career as soon as he finished college,
but progress was slow for a year or two. His
fame was confined to the beach, where at a
Santa Monica swimming club he played volley
ball every Sunday to a gallery of sighing
ladies who felt instinctively that that lean
brown physidue and those forthright blue
eyes should have a larger audience. Even
after important roles in "The Jazz Age" and
"The Poor Little Rich Girl" gave him a firm
foothold on the screen, he went through a
long, hard apprenticeship playing stiff and
dull leading men— partly because the scripts
called for dullness, and partly because Joel's
talents had not expanded to the point of
being able to furnish anything else, except
bis beautiful torso. When the breaks finally
came, he had the experience and maturity
to handle them capably, and the rest was
easy. Samuel Goldwyn signed him to a con-
tract and his future is assured. "Come and
Get It," "Banjo On My Knee," "Woman
Chases Man" and "Dead End" are some of
the pictures which attest to Joel's coming of
age. In "Wells Fargo" he played for the
first time with his lovely wife, Frances Dee.
Very happily married, they have two sons
and a large ranch in the hills back of
the Pacific, where on his vacations .Toel rides
the range with the other cowboys, master of
all he surveys.
His address is: in care of United Artists
Studio, 1011 N Formosa Ave., Hollywood, Cal.
Durango
engineer.
ANDREA LEEDS (First
printing) Long before
she had ever seen or
heard of a motion picture
camera, Andrea Leeds,
had lived through grim
drama. Though born in
Butte, Montana, she was
taken at a very early age
to the Mexican state of
where her father was a mining
Here the Yaqui Indians were war-
ring against the rebel soldiers who ravaged
the countryside in periodic raids. Once on
returning to Mexico for a vacation from her
high school education in Long Beach, Cali-
fornia, she stepped from her railroad coach
into a chaos of smouldering ruins, wounded
soldiers, and fear and hunger-crazed civilians.
Rebels had raided Jiminez ! That same sum-
mer, when trouble developed in the mine of
which her father was superintendent, there
was an enforced shutdown. More than one
hundred drink-crazed laborers surrounded
the house where the Leeds family was dining.
After they had broken all the windows with
rocks, Mr. Leeds reasoned with them and
WHAT YOU'VE BEEN
WAITING FOR
Want to know your tavorite player's
address? In fact, would you like to
have a com plete list of all the Holly-
wood stars' mailing addresses? It's yours
for the asking! So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan letter,
that we've compiled a complete list for
you, listing the players alphabetically,
according to their studio, and giving
their complete mailing address. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want it.
To receive one of these lists, all you
have to do is write to us and ask for
it, enclosing a large self-addressed and
stamped envelope. Don't forget that
last item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
MODERN SCREEN
got them to agree to a conference. When
her father was borne away by the motley
crew, Andrea never expected to see him
again. Her fear was proved unnecessary,
but she will never forget this greatest scare
of her life. After she had received her Bache-
lor of Arts degree from the University of
California at Los Angeles, she returned to
Mexico where she Intended to pursue her
chosen work, writing. She had been there
seven months when unrest again prevailed
and her father received several threats that
she was to be kidnapped. She was hustled
aboard an airplane and flown to Los Angeles.
At the University she had appeared in sev-
eral college productions including a motion
picture photographed with a sixteen-milli-
meter camera. It was now that this film
changed her life. For some weeks she had
made the rounds of newspaper ofHces and
motion picture studios trying, without suc-
cess, to get some sort of writing work. Just
then the college film bobbed up and Howard
Hawks, the director, saw it and believed
that Andrea had possibilities. He showed
it to Samuel Goldwyn who put her under a
long-term contract. Her first role was that
of Edward Arnold's daughter in "Come and
Get It," but it was from "Stage Door" that
she emerged with laurels equal to those be-
stowed upon the stars. Now she is the out-
standing personality in the new technicolor
musical, "The Goldwyn Follies." Andrea is
five feet, four Inches tall, weighs one hundred
and twelve pounds, and has brown eyes and
brown hair which has been given a golden
blonde tint for her present role. She lives
with her parents, who left Mexico a year
ago to be with her in the film capital.
JOHN HOWARD (Third
printing) A young man
who might have been an
English professor, a pia-
nist, or a -painter, is al-
read.v in his fourth year
as a movie actor, at the
age of 25. John Howard
was born in Cleveland,
Ohio, on April 14, 1913.
His father, a graduate of the dramatic school
of Carnegie Institute of Technology, had
been thwarted in his ambition to become an
actor. But this is not a case of the parent's
disappointed ambitions being thrust upon
the child. John's father consoled himself
by selling theatrical equipment, and let his
son choose for himself. John chose the
academic life. Always a good student, in
high school he won a scholarship to West-
ern Reserve University in Cleveland, M'here
he became the ideal college man. and dis-
tinguished himself in more ways than we
can chronicle here. Member of Phi Beta
Kappa, president of the Student Council,
pi-esident of the University Players, senior
manager of the basketball team, member of
the National Collegiate Players, the Univer-
sity Choir, the Y.M.C.A. Cabinet and the
Thalian Club, are a few of the honors he
won, in addition to being cho.sen most out-
standing man in the Senior Class. That's
not all, but enough to show the direction in
which John was headed. He aspired to be a
professor of English, and to that end won a
scholarship to the graduate school, where he
would get his M.A. degree. At that point
the moving picture industry entered his life.
In the spring of his senior year a Paramount
talent scout saw him in a campus show,
learned that he was also broadcasting, sing-
ing and playing over a local radio station,
and sized him up as good picture material.
(.Continued on page 19)
INFORMATION DESK, MODERN SCREEN.
149 Madison Ave., New York, N. Y.
Please print, in this department, a brief life
story of:
Name
Street
City, .
State.
If you would like our chart with weights,
heights, ages, birthplaces and marriages of all
the important stars, enclose five cents in
stamps or coin with your coupon.
Her Freshness Wins
A favorite of the London
stage, Ida Lupine's freslmess
caught the eye of a Paramoimt
talent scout. She was wMsked
to Hollywood and stardom in
"The Gay Desperado," "Any-
thing Goes," "Artists and
Models," "One Rainy After-
noon," "Fightfor Your Lady."
And the freshness of this young
star wins fresh applause!
THE fear of going stale keeps half
of Hollyn'ood awake nights.
For the brightest star becomes a
falling star . . . once freshness fades.
That's equally true of cigarettes.
Staleness often makes a "has been" of
a cigarette that ought to be in the
prime of stardom. Staleness can trans-
form the mildest cigarette into a harsh
irritant and rob it of all flavor.
That's why we run no ri.':ks with our
delightful young .star . . . Old Gold.
Every pack of Old Golds carries its own
freshness right with it . . . doubly sealed-
in by 2 jackets of stale-proof Cellophane.
At the peak of freshness, wherever
and whenever you smoke it, every
Old Gold gives a perfect performance
in the role of America's most appealing
cigarette. The price of one pack admits
you to this year's biggest smoking hit
. . . "Old Gold Freshies of '38".
TUNE IN on GUI Gokr.s Hollywood Scrcenscoop.s.Tues.
iind 'I'hnr.s. niubts, Columbia Network, Coasl-lo-Coiist
Here's why the O.G. package keeps 'em fresh
Outer Cellophjiiie .Jacket
Opens from tlie Hoi lorn
Sealing the Top
Tlio In.H i .1;,. kri (Iprn^
:il III,-
^calinK llu- IlolloTii
Col).vrli;hl. 1 '.>:l.H, l,v p. I,,„ nini d Co.. In
17
MODERN SCREEN
DANDRUFF ITCH?"
THE BEST PERFORMANCES OF 1937
We leel these players scored individual hits
in the more important pictures of the year.
Do you agree with Modern Screen's selection?
Use This Antiseptic
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Skin specialists generally agree that effective
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Just add 2 tablespoons of Zonite to each
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2. Lather head with any good soap shampoo,
using same Zonite solution. ( This cuts
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3. Rinse very thoroughly. (Your head is now
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RESULTS: By using this simple antiseptic
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say is necessary, if you want to rid yourself
of dandruff itch and nasty scalp odors. We
belisve that if you are faithful, you will be
delighted with results.
TRIAL OFFER — For a real trial bottle of Zo-
nite, mailed to you postpaid, send 10 $5 to Zonite
510 New Brunswick, ^efltf<4s\ New Jersey
U. S. A.
Robert Montgomery
(Ni(fhi Must Fall)
Greta Garbo
( Conquest)
Paul Muni
(Emile Zola)
Luise Rainer
[The Good Earth)
Beulah Bondi
(Maid of Salem)
Spencer Tracy
(Caps. Courageous)
Katharine Hepburn
(Stage Door)
Alan Jones
(The Firefly)
Ginger Rogers
(Stage Door)
Fredric March
[A Star is Born)
Erin O'Brien Moore
(Black Legion)
Ronald Colman
(Lost Horizon)
Janet Gaynor
(A Star Is Born)
F. Bartholomew
(Caps. Courageous)
Claire Trevor
(Dead End)
Carole Lombard
(True Confession)
bttle Davis
(It's Love I'm After)
Roland Young
(Topper)
Morjone Weaver
(2nd Honeymoon)
Anne Shirley
(Sltlla Dalius)
9.3 Times More Active
than any of her popufor, non-poisonous
anf'iseptic—bY standard laboratory tests
18
MODERN SCREEN
INFORMATION DESK
(Continued from page 17)
John, with dignity, declined his offer of a
trip to Hollywood, his eyes firmly set on the
professor's chair. But that night he learned
that the family finances would make it neces-
sary for him to go to work the next year, in-
stead of taking his degree at the graduate
school, without which there could be no pro-
fessorship. So he gave in, and arranged to
go to New York for a screen test. In Sep-
tember, 1934, he arrived at the Paramount
Studio in Hollywood, but it was not until
three months later that he made his screen
debut in "Car 99." The interim was spent in
studying moving picture technique with
Phyllis Laughton, Paramount dramatic coach.
.Tohu was christened John Howard, but he
took the screen name of John Cox until, after
his first picture, it was decided his own name
was better. So he changed back, and now
there is a mistaken idea in the mind of the
public that John Cox is his real name and
John Howard the assumed one. He is 5
feet 10, weighs 150 pounds, and has brown
hair and blue eyes. His first real hit was
made in "Annapolis Farewell." You also
saw him in "Lost Horizon," "Valiant Is the
Word for Carrie," and the "Bulldog Drum-
mond" series. He is unmarried, and his hob-
bies are painting and piano. For a time he
considered going back to take his M.A. de-
gree, but this idea seems to have been aban-
doned.
Carrol Hood, Darlington, S. C. Yes, Robert
Y'^oung is married. His latest picture is
"Paradise for Three," and his address is
Metro-Goldwyn-Mayer Studios, Culver City,
Calif.
Kathryn Gezar, Ambridge, Pa. The birth-
places you asked for are : Gary Cooper and
Myrna Loy, Helena, Montana ; George Raft
and Sylvia Sidney, New Y'ork City ; Spen-
cer Tracy, Milwaukee, Wisconsin ; Paul
Muni, Lemberg, Austria; and Greta Garbo,
Stockholm, Sweden.
Edward Borowy, Newark, N. J. I am sorry,
but we do not give out the home addresses
of the stars. You can reach Joan Bennett
by writing to United Artists Studios, Holly-
wood, Calif.
Mario Marzitelli, New York City. Write Jane
Bryan in care of Warner Bros. Studios,
Burbank, Calif.
Marian Morris, Connellsville, Pa. To obtain
a picture of Lee Dixon, write to Warner
Bros. Studios, Burbank, Calif., and enclose
twenty-five cents.
Mrs. Anna Bunistead, Staten Island, N. Y"^.
Fredric March's real name is Frederic Er-
nest Mclntyre Bickel. In January, 19.38,
he and his wife, Florence Eldridge, ap-
peared on the New York stage in "Yr. Obe-
dient Husband," but the play failed after
one week. He is not going to leave the
screen.
Mary Katliryn Dunlap, Austin, Minnesota.
Edna Mae Durbin, now known as Deanna,
was comfortably well off before her screen
career began. Her father is a broker.
Deanna is fifteen, and doesn't favor any
particular sport.
Virginia Atemis, Brea, Calif. There are no
movie stars who send their photographs
free of charge. You should send a quarter
with each request.
William De Lcmmo, Harrisburg, Pa. Lois
Lindsay is one of the show girls in "Gold-
diggers In Paris," now being made at the
Wai-ner Bros. Studio, Burbank, Calif.
Iris Hemphill, Blythe, Calif. Errol Flynn
was born June 20, 1908. He lives in Bev-
erly Hills.
J. Schwartz, New York City. Joy Hodges
played in Universal's "Merry-Go-Round of
1938." She is not under contract to them,
but you can probably get her picture by
writing to Universal Studio.
Ben Halprin, Bronx, New York. Joan Craw-
ford and Charles Beyer have never played
together.
L,. Kamajian, Philadelphia, Pa. Joan Blon-
dell is an American. She was born in New
York City, and has been in every state in
the union on vaudeville tours.
Is this
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19
REVIEWS • 7% TOER
If .
— Marco Po\o
**** f ho Air:r - S.S ^sj^^^
who contnbute^d^^ Turner. Uire ,
(,.■■■ ■■■■■■ — -KKBBlSSHBSMSafiHHHSHHMHB^
1 j^y^e Butler
f^f suave n.^ner«^^^^^^ af A-J^^^^l^ier aS ^-"^ 1°
bella, France s If/^ect butler 3 ust wben tb^^^ parUarne"
f^f suave n.^ner«^^^^^^ ^^^Z.^^^^^^ ^^^U to
K^lla Frances 'ates ^^^r, „, and wben t"^^., parliament
Walter Lang. — — .
★★TheB^^Broodc^^^^^^
Tbe b^^rTo%Kcrt\ Paramo^^^^^^^^ ^^eT^l "^^arious
W^C. fat^esf ole^i ^^^"pro^edlngs ^^^^^^^
''kJ Broadcast' « ;f^\cialty af - \^as sometbin^
notbmg ^j^nticrace aeow. ^^.^t, Y^%iemory-
witb a transa ^^^g Ins s -^t^re f. ii!|^i,s For rjietricb
S^^'lfl Raye exbib.ts a pai^^^„ is Here^^°nd Dorothy l^^^^
Martha Kayc 'lhat EriKSon Quizar
r S ^-STon-"- ^rMe"-" ^S^fe's'satt^'cry.
t aTe itttfe do ^^^hb two P^f-.fnon of Brunh.lde s
the entertam^eg ^^^^^ m -J^^^^^^or^nt.
Flagstad^^ badly ^^^^ Letsen.
■Directed
20
BY LEO TOWNSEND
★★★Bringing ^"''J, ,„„
Since ■'B*V' -t 'Sfri^^^^fBSS-^^T
Sgh Cary comes .i^J^^oUars he Jakes ^aUe
number and a cool J nothing too strenuous ^^^^ ^^^^ own. Th«r
throughout. Fo'^^l"?^ decided to have ^^^J-l to a frazzle, ^ou u
■ .1 Vipr niece is starK, Walter "-atieiu
prise yori. Uirecre
«l Tom Sawyer
**** The Aaventures ot ■ ^^^^^
^^raSd he and Huck reaUze e^er> ^^^^^
In un Jo?', fj , treasure. , .screen debut, i^' ^o" Another
uncover hidden tre^su ^^^.^^ cree phenomenal. Anoj^ ^^.g
Young ^."^"^^irperformance IS really ^P^^^^^ i,,^^^
come to li*^- JoiUis. is splendid ^-s Sid, Mar-
IS^T: H Srefc.^°^'='*""'''"°''"
ci- U+ Case Murder
and Bobby ( U^aa
GOING TO SEE A PICTURE? READ OUR REVIEWS FIRST AWD YOU'LL PICK THE RIGHT ONES
MODERN SCREEN
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22
Gertrude Niesen, in " Start
Cheering," feels sorta roman-
tic— could it be Jimmy Durante?
* Start Cheering
Starting out as a satirical poke at typical
college musicals, "Start Cheering" has all
the indications of a swell ribfest in its early
reels, only to fall apart in the middle and
turn into what it manifestly is kidding— a
typical college musical.
Out of the wreckage, however, one bright
shining figure emerges. It is Jimmy Dur-
ante, who has been away from pictures too
long. The Schnoz, as he is affectionately
known, is completely ludicrous and very
funny. His brand of humor is entirely his
own. Give him a battery of phones, as in
the picture's funniest scene, and he dials his
own number, talks heatedly to himself and
gets nowhere in a fine burst of frenzied
hilarity.
Story has to do with a movie hero
(Charles Starrett) who enrolls at good old
Midland University to bolster that institu-
tion's waning popularity. , He finds love, of
course, with the dean's daughter (Joan
Perry) after complications with some of
the less Hollywood-minded underclassmen.
A good supporting cast includes Gertrude
Niesen, Walter Connolly, Raymond Wal-
burn, Broderick Crawford, Ernest Truex,
Chaz Chase, and the orchestra of Louis
Prima and Johnny Green. Directed by Al
Rogell. — Columbia.
** Radio City Revels
Stretching a good idea into a full-length
picture is a tricky task and has its pitfalls.
It can be said for "Radio City Revels" that
the dull spots aren't too frequent, and that
the original idea, plus a brace ^ of good
songs, is good enough to provide fairly
diverting entertainment.
Jack Oakie and Milton Berle are a pair
of Broadway song writers whose well of
inspiration has gone dry. Good luck comes
to them in the person of an Arkansas hill
billy (Bob Burns) who writes songs in his
sleep, but can never remember the tunes
when he awakens. Oakie and Berle copy
down his stuff and return to fame and
fortune.
Biggest asset in the picture is the per-
formance of young Ann Miller. Attractive
and charming, she is an admirable dancer
and a capable actress with a bright future.
Kenny Baker's tenor voice is a distinct
asset in his songs. Milton Berle shows
great improvement, and Jack Oakie and
Bob Burns perform with their custom-
ary gusto. Helen Broderick helps, and
lane Froman, singing one song, adds to
the pictorial effect. Directed by Ben
Stol off .— A' KO- Radio.
As "The Beloved Brat," Bonita
Granville bestows a mean look
on Emmett Vogan.
* The Beloved Brat
Spirited treatment of a poor-little-rich-
girl theme and consistent characterizations
of a well-chosen cast make "The Beloved
Brat" good entertainment for most audi-
ences. However, clumsy handling of the
dialogue, which inclines toward preachiness,
slows up an otherwise worthy film.
Bonita Granville is the unbeloved brat
who craves tenderness and affection rather
than wealth and comfort. Her parents are
much too busy to realize that they have
a problem in their young daughter. ]Miss
Granville whips herself up into a series of
fine frenzies— rebelling against her sheltered
life and all the unfeeling people in it so
violently that she is sent to a corrective
school for girls. Here she is heartily
disliked by all her fellow pupils, until the
gentle persuasiveness of the superintendent
(Dolores Costello) begins to take effect.
Bonita is at her best in a performance
very hke her role in "These Three." Don-
ald Crisp, as the remorseful father, does a
memorable piece of acting in a father-to-
daughter talk, and Dolores Costello is
earnest and beautiful. Others who turn in
good performances are Lucille Gleason,
Stymie Beard, Donald Briggs and Natalie
Moorhead. Directed by Arthur Lubin.—
IVanier Brothers.
■^■^ Penitentiary
Evidently director John Brahm took
the words "moving picture" literally, for he
has made a film that is just that— no time
wasted on long speeches or unnecessary
scene chewing, but a picture that moves
rapidly and dramatically, and one which
might be seen with profit by a number of
Hollywood directors.
Most of the action takes place withm
prison walls, and although the theme is
drab and there is no comedy relief, direc-
tor Brahm has pointed the drama and paced
his scenes so effectively that one's interest
never lags. Basically, the story concerns
the love of one of the young prison trusties
for the warden's daughter. Aroijnd _ this
theme there is the usual prison intrigue,
made interesting by unusual handling.
Walter Connolly delivers an effective
portrayal of the troubled warden, and John
Howard has one of his best roles as the
young prisoner. Jean Parker plays the
girl 'witliout too much cloying sweetness,
and there are excellent performances by
Robert Barrat, Marc Lawrence. Arthur
Hohl, and others. It's a well-made picture
with no frills, and one which won't dis-
appoint any audience. — Cohunbia.
MODERN
SCREEN
Jack Oakie smiles upon the In "Penitentiary," nothing comes Jimmy Stewart and Ann Ruther-
lovely newcomer, Ann Miller, between Jean Parker and John ford are a new team^m "Of
in "Radio City Revels." Howard but the groceries. Human Hearts."
-kifOi Human Hearts
This is a very quiet period picture. Wal-
ter Huston is Parson Wilkins, a circuit-
riding preacher of the 1850's, and Jimmy
Stewart is his son, Jason. Jason wants_ to
be a doctor, and regards his soul-saving
father as a failure — chiefly because his
Dad's salary is paid in new potatoes and
second hand clothes. The story covers a
lot of time, carrying Jason from boyhood
through college and on to a medical com-
mission in the Union Army. His parents
have sacrificed themselves generously to
see him through, but Jason, a self-centered
young fellow, doesn't realize it until he is
brought up short in a very dramatic scene
with President Lincoln.
The picture's best performances are
turned in by the two actors who imper-
sonate Jason Wilkins — Jimmy Stewart as
the adult Jason, and Gene Reynolds as
Jason aged twelve. This lad will really
bear watching. Walter Huston is satis-
factorily hard and earnest as the preacher,
and Beulah Bondi charming as his wife.
Charles Coburn is good as the small town
doctor, John Carradine superb as Lincoln.
Directed by Clarence Brown. — M.G.M.
iKi^Love, Honor and Behave
A somewhat confused drama of parental
influence, "Love, Honor and Behave" will
depend largely on the popularity of Wayne
IMorris and the performance of Priscilla
Lane for its success. And the much-pub-
licized "real life romance" of these two
players will undoubtedly bring many cash
customers to witness their salaried necking
on the screen.
iVIorris' father (Tom Mitchell) believes
th?.t everything in the world must be
fought for, while his mother (Barbara
O'Neill) holds that success and happiness
are achieved by being a good loser. In the
general confusion, at any rate you'll be
happy to learn that the way to hold a
wife is to sock her in the jaw, black her
eye and administer a stern hand to her
bottom.
Wayne Morris goes through the trans-
formation from lamb to fanny spanker with
becoming sincerity. Priscilla Lane turns in
the best porformance of the picture with a
spirited portrayal of a forthright young
lady who knows what she wants. Directed
by Stanley Logan — Warner Bros.
(Continued on page 122)
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23
MODERN SCREEN
To help Prevent
COIDS
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Use
PEPSODENT
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In Germ-Killing
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three bottles oi
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AN IMPORTANT fashion feature
for Spring 1938 is the bolero, and
here we have it on this one-piece
dress, whose air of smart simplicity
is achieved by the striking white
bands, high slanting pockets, buttons
down the back, and crushable leather
belt. This popular model can be
worked up quickly, for it's made with
the easy stockinette stitch familiar to
all knitters. An unusual version of
the ever-popular Calot is found in No.
2646, a scalloped model that you can
crochet in a jiffy. You will probably
want to make several of these in
colors to match your different sports
suits. Clip the coupon and send in
vour stamped, addressed envelope to-
dav for tliese new designs !
No. 2646 — Make this popu-.
lar sport model in a new
design, the Scallop Calot.
ANN WILLS. MODERN SCREEN
149 Madison Avenue. New York, N. Y.
Kindly send, at no cost to me:
Knitting Directions for No. 2640
Crociieting Directions for No. 2646
I am enclosing a stamped, addressed (large)
envelope.
Name
Street
Qity State
(Check one or both patterns and please print name
and address)
24
MODERN SCREEN
Popular Copyrights Are A Smash Hit!
Millions of Books 2 QgQQJ^gj^^l J
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14 What Every Girl Should
Know
19 Nietzsche's Philosophy. Du-
rant
25 Rhyming Dictionary
39 Aristotle's Philosophy, Du-
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42 Origin of Human Race
53 Insects and Men. Instinct vs.
Reason. Clarence Darrow
56 Dictionary of U. S. Slang
58 Tales from Decameron.
Boccaccio
72 Color of Life and Love
74 Physiology of Sex Life
82 Common Faults in English
83 Evolution of Marriage
87 Nature of Love
91 Manhood: Facts of Life
92 Hypnotism Explained
„I Self-contradictions of Bible
98 How to Love
109 Facts About Classics
110 History of World War
125 Woodrow Wilson's War
Speeches
j26 History of Rome. Wood
1;''' Principles of Electricity
150 Lost Civilizations
159 Story of Plato's Philosophy
172 Evolution of Sex
175 A Hindu Boolt of Love
1/6 i"our Essays on Sex
^92 XSook of Synonyms
i;"=:zle of Personality
„ ,S 5*^''™'^ "f "le Talmud
i28 Plain Talks With Husbands
o,, S."^ Wives. Ellis
271 Is Death Inevitable?
286 Prostitution in the Ancient
World
?S7 Best Jokes About Doctors
■jn Do We Need Religion?
¥°*^. "! Short Stories
347 A Book of Riddle Rimes
304 How to Argue Logically
o67 Improve Your Conversation
374 Psycnology of Suicide
■Xli Story of an Old Maid
3(7 Psycnology of Joy and Sorrow
o83 Prostitution in the U. S.
403 Pacts About Music
411 Pacts About Phrenology
414 Art of Being Happy
Ml V,- ?k Commercial Geography
a"A i-,?^"?:! " Monastery
440 Baseball. How to Play
446 Psychology of Religion
447 Auto-Suggestion: How it
Works
^tl Auto-Suggestion and Health
452 Dictionary of Scientific
Terms
467 Evolution Made Plain
473 Lives of Chorus Girls
475 Develop Sense of Humor
479 How N. Y. Girls Live
488 Don't Be a Wall Flower
491 Psychology lor Beginners
493 Novel Discoveries in Science
501 How to Tie Knots
.503 Short History of Civil War
509 Are We Machines? Darrow
518 How to Make Candy
524 Death and Its Problems
529 Woman the Criminal
536 What Women Beyond 40
Should Know
556 Hints on Etiquette
557 Is the Moon a Dead World?
603 The Electron Theory
606 How to Play Chess
609 Are the Planets Inhabited?
627 Short History of the Jews
629 Handbook of Legal Forms
637 German-English Dictionary
639 4.000 Essential English Words
644 Women Who Lived for Love
645 Confidential Chats with
Wives
648 Sexual Rejuvenation
653 What Boys Should Know
654 What Young Men Should
Know
655 What Young Women Should
Know
656 What Married Men Should
Know
657 What Married Women Should
Know
658 Toasts for All Occasions
661 Neurotic America and Sex
679 Chemistry for Beginners
681 Spelling Self Taught
682 Grammar Self Taught
683 Punctuation Self Taught
687 U. S. Constitution
688 Teeth and Mouth Hygiene
689 Woman's Sexual Life
690 Man's Sexual Life
691 Child's Sexual Life
696 How to Pronounce Proper
Names
697 4.000 Words Often Hfispro-
nounoed
703 Physiology Self Taught
704 Facts About Palmistry
705 100 Professions for Women
710 Botany for Beginners
715 Auction Bridge for Beginners
TAKE your pick of the Little Blue Books listed on
this page at the rate of 20 books for $1, plus Ic per
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717 Modern Sexual Morality
724 Burbank Funeral Oration.
Judge Lindsey
726 Facts About Venereal Dis-
eases
727 Psychology of Affections
730 Mistresses of Today
731 Mental Differences of Men
and Women
734 Book of Useful Phrases
759 How to Conquer Stupidity
767 Facts About Astrology
768 Best Jokes About Lawyers
773 Good Habits and How to
Form Them
775 First Aid for Investors
777 Riddle of Human Behavior
781 Catholicism and Sex
782 Psycho-Analysis, Mind and
Body
784 Association Tests in Psycho-
Analysis
789 Digest of U. S. Marriage
and Divorce Laws
800 Sex in Psycho-Analysis
801 A Rapid Calculator
804 Freud on Sleep and Sexual
Dreams
810 Scandals of Paris Life
815 Familiar Quotations
816 Shakespearean Quotations
817 Her Burning Secret
819 Book of Strange Murders
820 Jokes About Married Life
821 Improve Your Vocabulary
822 Rhetoric Self Taught
823 English Composition Self
Taught
835 Handbook of Useful Tables
841 Future of Religion
842 Best Jokes of 1925
843 Can Y'ou Control Conduct?
845 Facts About Fortune Telling
846 Womanhood: Facts of Life
847 How to Play Card Games
850 Bad Habits and How to
Break Them
851 Bible Myths and Legends
853 How to Know the Songbirds
855 How to Write Letters
856 Arithmetic Self Taught, 1
857 Arithmetic Self Taught, 2
858 Psychology of Leadership
862 German Self Taught
864 Chats With Husbands
869 Best Jokes of 1927
872 Manual Parliamentary Law
876 Curiosities of Mathematics
877 French Cooking for Ama-
teurs
879 Best Jokes About Preachers
882 Psychology of Character
Building
883 Capital Punishment
884 Debate on Prohibition
889 Jokes About Kissing
891 Your Talent and How to
Develop It
893 500 Riddles
894 How to Advertise
895 Astronomy for Beginners
896 Wages of Sin
901 Woman: Eternal Primitive
902 Dictionary of Foreign Words
903 All About Syphilis
904 Sex Symbolism. Fielding
910 Is Life Worth Living?
911 Is Mankind Progressing?
964 How to be Happy Though
Married
966 Rational Sex Ethics
972 Book of Popular Jokes
975 Cleopatra and Her Loves
984 Harmony Self Taught
986 How to Talk and Debate
987 Art of Kissing
988 The Art of Courtship
995 How to Play the Piano
997 Recipes Home Cooking
999 Latin Self Taught
1000 Wonders of Radium
1003 How to Think Logically
1004 How to Save Money
1005 How to Enjoy Music
1006 Children's Games
1007 Revolt Against Religion
1008 Origin of Religion. McCabe
1009 Typewriting Self Taught
1010 Amateur Magic Tricks
1011 French-English Dictionary
1012 Best Negro Jokes
1013 Best Irish Jokes
1014 Best American Jokes
1015 Comic Dialect Poems
1018 Humorous Limericks
1020 Why I am an infidel
1021 Italian Self Taught
1023 Popular Recitations
1030 World's Great Religions
1049 How to Sing
1051 Cause and Nature of Genius
1052 Nature of Instinct and Emo-
tions
1053 Guide to N. Y. Strange Sec-
tions
1056 Devil's Dictionary
1061 Human Origin of Morals
1062 Humoresque. Fannie Hurst
1064 Simplicity of Radio
1065 Lives of U. S. Presidents
1069 Conquest of Fear
1070 How to Fight Nervous
Troubles
1074 Commercial Law
1078 Morals in Greece and Rome
1079 Phallic Elements in Religion
1082 Best Jewish Jokes
1084 Did Jesus Ever Live?
1088 Truth About Mussolini
1089 Common Sense of Sex
1091 Facts About Cancer
1092 Simple Beauty Hints
1093 Amusing Puns
1094 Insanity Explained
1097 Memory: How to Use It
1103 Puzzles and Brain Teasers
1105 Spanish-English Dictionary
1109 Spanish Self Taught
1111 Prostitution in Medieval
World
1113 Love from Many Angles
1122 Degradation of Woman
1123 Facts About Puritan Morals
1124 On the Bum
1126 Eating for Health
1130 The Dark Ages. McCabe
1135 Prostitution in Modern
World
1138 What Atheism Means
1139 Photography Self Taught
1144 Truth About Jesuits
1148 Sexual Crimes in U. S. Law
1164 Unlovely Sin. Ben Hecht
1167 Sinister Sex., etc. Hecht
1174 How to Write Business
Letters
1176 A Alad Love. Frank Harris
1204 Dictionary of Musical Terms
1206 How to Swim
1-207 French Self Taught
1208 Success Easier Than Failure
1209 Charming Hostess: Enter-
tainment Guide
1210 Mathematical Oddities
1216 Italian-English Dictionary
1221 Pacts About Will Power
1225 How to Avoid Marital Dis-
cord
1228 .lokes About Drunks
1231 Best Jokes of 1926
1233 Better Meals for Less Money
1238 Beginning Married Lite
Right
1239 Party Games for Grown-ups
1241 Outline of U. S. History
1242 Care of Skin and Hair
1244 How to Write Love Letters
1246 Best Hobo .lokes
1247 Psychology of Love and Hate
1249 Best Jokes About Lovers
1250 Companionate Marriage
1251 What Do You Know?
1257 How to Become Citizen
1278 Ventriloquism Self Taught
1279 Side Show Tricks
1285 Gambler's Crooked Tricks
1292 Best Short Stories of 1928
1311 Real Aims of Catholicism
1316 Revolt of Modern Youth
1317 Meaning of U. S. Constitu-
tion
1318 Case For and Against Sexual
Sterilization
1320 How to Get a Husband
1321 Pasting for Health
1322 Confessions of a Modern
Woman
1329 Facing Life Fearlessly
1330 Pacts About Digestion
13.33 Common Sense of Health
1337 Breakdown of Marriage
1339 Crooked Financial Schemes
1340 How to Get a Job
1341 Unusual Menus
1342 Typical Love Problems
1347 Trial Marriage
1349 Life of Lindbergh
1351 How to Get Ahead
1354 Book of Similes
1356 How to Make Wills
1357 What You Should Know
About Law
1358 How to Acquire Good Taste
1359 Is Birth Control a Sin?
1360 Pocket Cook Book
1361 Who Killed Jesus?
1362 Law for Women
1363 Law for Auto-Owners
1365 How to Build Vocabulary
1371 Sins of Good People
1379 President Harding's Illegiti-
mate Daughter
1380 Flesh and the Devil
1382 Is Our Civilization Over-
sexed?
1385 Defense of Devil
1388 Are the Clergy Honest?
1389 Tobacco Habit
1392 Confessions of a Gold Digger
1395 Instantaneous Personal
Magnetism
1412 Stories of Tramp Life
1413 My Prison Days
1419 Unusual Deaths
1420 Why Wives Leave Home
1421 How to Get a Divorce
1426 Foot Troubles Corrected
1428 Unusual Love Affairs
1430 Shorthand Self Taught
1434 How to Think Clearly
1436 Strange Marriage Customs
1437 Curiosities of the Law
1439 Intelligence. How to Test It
1440 Can Man Know God?
1442 Facts About Graphology
144.1 Wild Wojnen of Broadway
1448 Character Reading from
Faces
1450 Do We Live Forever?
1455 End of the World. McCabe
14o9 Psychology of Criminal
1460 American Statistics
1471 How to Become Mentally
Superior
1475 Best Jokes of 1928
1476 What You Should Know
„ About Y'our Sensations
14u How Glands Affect Person-
ality
1480 Causes of World War
1481 The New Immorality
1484 Why Preachers Go Wrong
1491 Power of Women
1493 Wine, Women and Song
1496 Sexual Factor in Divorce
149i Companionate Divorce
1498 M. U. Sex Questionnaire
1000 Why I Am an Agnostic
1001 Mussolini and the Pope
1-2? Effective English in Speech
lo04 Overcome Self-Consciousness
1508 Facts About Poisons
1513 Statistics: How to Under-
stand Them
1514 Edison's Inventions
1516 Pacts About Gonorrhea
1523 How to Avoid Catching
Venereal Diseases
1531 Can We Follow Jesus
Today?
1532 Don Quixote
1534 How to Test Urine
1535 How to Throw a Party
1536 Facing Death Fearlessly
1538 Rational Sex Code
1542 Who Started World War?
1543 Is War Inevitable?
JKt ^pinst Capital Punishment
1548 Clunese Cook Book
1553 Exercises for Nervousness
and Indigestion
15.54 Exercises for the Heart
15m Rules for Success in Business
1506 How Sun Gives Health
15d9 Can We Change Human
Nature ?
1563 Marvels of Sunlight
156o Catholicism and the Public
Schools
W^;? \S Conduct Love Affair
1568 Full Text Edison's Scholar-
„.„ „ ship Questionnaire
1569 Boccaccio — Lover of Love
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Watch for it soon at
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picture theatre.
TYRONE
with
ALICE
DON
POWER • FAYE • AMECHE
ALICE ANDY BRIAN
BRADY - DEVINE • DONLEVY
Phyllis BROOKS • Tom BROWN • Sidney BLACKMER
Berton CHURCHILL • June STOREY • Paul HURST
Directed by HENRY KING
Associate Producer Kenneth Macgowan • Screen play by
Lamar Trotti and Sonya Levien • Based on a story by Niven
Busch • Music&LyricsbyGordon&Revel,Pollack&Mitchell
^^^^
26
MDTDAL BENEFIT
WE DON'T need that old adage about a person being
known by the company he keeps to see that Bob Taylor's
selection of Barbara Stanwyck for his off -screen, and
occasionally on-the-screen-too, sweetheart did a lot for
the career of that same Barbara Stanwyck. It didn't make
her a better actress — Barbara has always been that— but
it did bring her to the fore and onto the front pages and
into the minds of millions of movie-goers as she had never
been brought before.
But this story isn't about that— that is the obvious
thing — and there is a Bob-benefit in Barbara's life which
goes much deeper, a much more dramatic and heart-
warming story. Countless stories have been written about
what Barbara has done for Bob: how her advice guided
him, how her confidence sustained him, how the constant
companionship of this sturdy-fibered, common-sense girl
was a safe tether in this giddy-gaddy town.
. It's time now at last, that the other part of^ the story
be told. It has somewhere been written that a love only
lasts when each of the two who share that love gives
something good and great to the other. In this story,
then, you will also find the reason why Bob and Barbara
are, just about now, celebrating their second friendship
anniversary.
It was six months after Barbara had come to the end
of her marriage with Frank Fay that she met Bob. To
describe the girl she was at that time is to describe a
drab-hearted young woman who already felt that her
BARBARA STANWYCK'S ROMANCE WITH BOB
AN ANCHOR. BUT THAT'S NOT ALL! HERE'S WHAT
Dion Anthony Fay,
Barbara's adopted
son, has been the
center of a battle.
ASS'N.
BY KATHARINE
HARTLEY
span of happiness and activity, and that her place in the
world, no longer existed.
In drawing her portrait at this period it is impossible
to do so accurately without bringing in the dire effect that
her past life with her husband, a long period of seven
years, had etched on her. But since Barbara has only
recently gone to court to say that her ex-husband is not
a desirable companion for their young adopted son, and
since she offered numerous signed affidavits to prove her
contention, we are not overstepping the bounds of kindness
and decency in touching on that subject. What goes into
the courts and into the newspapers is public domain of a
sort. Whatever Frank Fay's importance and worth as an
entertainer and a man is, it is a fact that as Barbara
Stanwyck's husband he wreaked a very great harm on
her. Barbara lost the first round of her recent suit; the
judge ruled that Fay should be allowed to see the six-
year-old Dion at appointed times, but there are still those
affidavits to be reckoned with and the case is being ap-
pealed. More than that, to go back to our point, there
was Barbara Stanwyck, at the time the divorce was
granted.
We say she was drab-hearted. A lot of things had con-
tributed to it. For seven years Barbara had not known
what it was to be a personality, a personality with ideas
of her own, work of her own, friends of her own. Under
the constant pressure of the egotism of a man who re-
ferred to himself as "The Fay" {Continued on page 110)
TAYLOR HAS HELPED HER CAREER-GIVEN HIM
IT'S DONE TO THEM AS PEOPLE, NOT STARS
Hurrying to keep
that date with
Babsl And she
isn't the only one
to benefit from
their romance,
either. It's had a
far-reaching effect
on Bob, tool
A TALL young man was on the Blue Train Express,
going from Paris to Monte Carlo. He lounged along the
corridor of the car, smoking, contemplating the familiar
contours of the Maritime Alps. A compartment door was
open and through it wafted an intriguing scent, faint but
nostalgic; mysterious, even mesmeric. The young man
glanced discreetly into the compartment. A lady sat there,
lovely. She smiled. Pretty soon they were talking of
many things. Thei-e was dinner, a deux. The Blue Train
Express rolled into Monte Carlo. The tall young man
said goodbye to the lady. He didn't know her name. She
didn't know his. They didn't meet again. It was adven-
ture, unsought, brief.
The young man was Douglas Fairbanks, Junior. The
lady must be to us, what she is to him, nameless.
"My life is exciting," says Douglas. This is why.
Excitement is a glaze laid lightly over matter-of-fact, -
over habit, over repetition and routine. Douglas takes
care not to scratch the glaze. He is restless, nervous. He
moves from place to place. He makes movies, writes
and tears up what he has written, the fire of creation be-
ing sufficient unto itself. He has been in love. He handles
life deftly, never asking too much or too little.
In Hollywood now, he will not plan to stay there in-
definitely, will not buy a house, strike roots, will not
marry soon.
"I never want to stay in any one place long," he told
me. "I am restle.ss and, after all, if you want to keep in
tune with the rhythm of life you will keep moving.
"Am I bored with life? Never! I do try to avoid repe-
tition of things a second touch would kill. But there are
other things. I've crossed the ocean thirty times and I
never feel a ship pull out of port that I don't get misty-
eyed. I never catch a 'first' glimpse of land that it isn't
really the first to me, and I choke up. I've been in the air
I don't know how many times and I never see a plane
take off that it doesn't grip me by the throat.
"I never start a picture that we don't have to do retakes
on the first three days' shooting, because I'm so jittery
that I muff things. Invariably I have the feeling that I've
never faced a camera before.
I NEVER want to lose this sense of 'first experiences',"
said Douglas. "It seems to me that to meet every adven-
HIS LIFE'S
EXCITING
DOUG, JR. HAS HAD MORE ROMANCE,
TRAVEL AND ADVENTDRE AT TWENTY-
EIGHT THAN MOST OF HS EVER RATE
BY FAITH S E R V 1 C
ture as though it were for the first time is to keep the
savour of life sweet and strong on your lips."
"But' is a person just born that way," I said, "or do you
have to work for it?"
"I have to work for it, in part," said Douglas, "because
you have to prod yourself into awareness of how curious
everything is and once you are properly curious, you are
alive ! There are men, I suppose, born Casanovas, who
believe that the only experiences worth having are ro-
mantic experiences. They seek for them and, of course,
to seek for experience in romance is to lose it, I feel sure.
Though there is- nothing so presumptuous as to lay down
rules and regulations about love. When I read articles in
which actors define love, tell others how to 'nianage' love,
to find it or keep it, I feel nauseated. How the devil do
they know how to tell others about love, what they should
do about it?"
"You've been in love, haven't you?" I asked.
"How should I know?" countered Douglas. "I've
thought so, yes. Infatuations, perhaps. Love, perhaps.
But whether there is one love in a man's life, or which
love of many is the real love, I wouldn't be so presump-
tuous as to guess."
Douglas is not bored with life. He sees to that. And
thereby I lost my bet,- which I had placed on the nose of
Boredom. For I had remarked to Douglas that I should
suppose he would be satiated, "too, too weary to fight stag-
nation," as his friend Noel Coward warbles.
I had, I felt, good grounds for my assumption. For
Douglas has had, in his twenty-eight vivid years, more
large hunks of life, and love and adventure than befall
most men when the age numeral is reversed and they are
eighty-two.
Long the young Crown Prince of Hollywood, son of
his famous father, only son of the House of Pickfair, to
the portals of which came princes and poets, explorers and
socialites, inventors and eminent authors the boy, while
still a boy, could take a Prince without a genuflection,
could prattle unselfconsciously to a Lindbergh or an H._G.
Wells, could and did parry thrusts of wit with the brite-
brains of two continents, or three.
HE KNEW the forcing-house of domestic upheaval, the
divorce of his parents, the {Continued on page 78)
Doug used to write for publication, but now
it's just for iun.
36
Jeanette and Hubby Gene Raymond do
everything together. They hke polo.
HAS SHE
B Y G L A D Y S HALL'
HAVE YOU anything left to want?" I asked Jean-
ette MacDonald.
Jeanette said, immediately, and meaning her answer,
"Yes. To keep what I have." She added, after a
moment, "to be big enough to take the down-grades
if they come ; to be able to hold the memory of this
happiness when, inevitably, some of it must go."
Jeanette was serving tea in the soft-toned rose and
rust living-room of the Bel Air home which Gene
Raymond bought for his bride, carrying her across
the threshold in keeping with the old tradition. They
care about tradition, Gene and Jeanette ; they believe
in yesterday as well as today; they contemplate to-
morrow with questioning eyes, as all intelligent people
must. The late gilt sun came through the ceiling-high
window at the big room's end, it touched the silver-
framed photograph of Gene and Jeanette as bride and
groom, on the piano ; it fingered the silver bowls of
roses Jeanette loves beyond all other flowers; it
aureoled the red-gold hair of Jeanette herself, made
hhxe jewels of her eyes as she sat in the high-backed
wing chair, wearing a simple brown frock sashed in
vivid green, nibbling candies from a blue basket at
They both love horses and con be
seen on the bridle pcrth every day.
On their evenings at home, Jean-
ette and Gene like to read.
All dressed up and set for a bit of
stepping. Handsome couple, what?
UNYTHINE LEFT TO WANT?
JEANETTE MCDONALD APPARENTLY HAS EVERYTHING BDT ADMITS SHE STILL ISN'T SATISFIED
her side. And she looked so sort of
shiningly happy that had the sun
ceased to shine the room would still
have been illumined.
Jeanette is fiercely superstitious
about discussing her happiness, fear-
ing that if she puts it into words the
jealous gods, having it called to their
attention, may be old Indian-givers
and snatch it away from her, just to
demonstrate that such earthly Para-
dise is not for the children of men.
Before Jeanette was married, she
was afraid to talk about her wedding
day; she was sure that if she did
something would happen, something
would cloud or postpone that suth-
ciently laggard June night.
It is hard to think of her as want-
ing anything more than she already
has. She is married to the man she
loves and the man she loves loves
her. There are Penelopes a-plenty
who would consider that life had
done right smart by them if it gave
them their Prince Charming, with all
his heart. And, richer piled on riches,
she has her beautiful home with all
of Gene's thought of her expressed
in every exquisite luxury and detail.
Just to have such a home would give
many a woman cause to feel that she
had not lived in vain. And Jeanette
is young, and beautiful and in glow-
ing health ; she has her mother living
close by her, she doesn't have to diet
(she dotes on baked beans). She has
friends, Ginger Rogers, the Allan
Joneses, Jimmy Stewart, among the
many others ; she has the cooperation
and respect of everyone at her studio.
She is not only a gifted actress, but
she has the voice as well and ofifers
from the Metropolitan Opera House
in New York, goal of how many
singers, and offers, innumerable, to
do concert work. She is well aware
of her possessions. But she's humble
withal.
I'LL WANT to remember," she said,
thoughtfully nibbling a caramel, "that
I worked hard to attain success ; that
it didn't come easily nor in the guise
of 'breaks.' I worked very hard dur-
ing those early days in New York.
For months I .traveled daily, from
manager to manager, from agent to
agent, but no one had a part for a
too-thin, unknown youngster from
Philadelphia. To earn the money
needed for my wardrobe, for girls
seeking theatre jobs just had to look
prosperous, I posed for commercial
photographers. I worked one whole
hot summer through as a model for a
fur-manufacturing company, of all
things ! No one has ever given me
anvthine I (Continued on page 104)
SOMEBODY has said that you might as well ask an elec-
trician what electricity is as to try to get someone to define '
glamor. They both thrill and kill and they both defy
analysis. Good enough, that, but the analogy goes even
further. Like, electricity, you can also buy or rent glamor,
if you only plug in on the right connection.
But the trouble is that the glamor company isn't paying
quite the same dividends as the public power set-ups and
that's something that does deserve analysis. What's hap-
pened?
There used to be a day when a young actress bidding
for attention could, and would, with only a few dollars in
her pocket, burst upon the world in a ten thousand dollar
mink coat, wearing a diamond as big as her hope, and
lolling magnificently in the squashy back seat of a miUion-
aire's limousine. Today the mink coats are more likely
Japanese imitations, the diamonds remain in some jewel-
er's dark vaults, and the limousines — you can see them
Katharine Hepbiim is shown here crt the
wheel of the expensive foreign car she
drove when newly arrived in Hollywood.
But today? It's a station wagon for her!
Carole Lombard used to be known for her
tremendous parties, but not any longer.
Now, between pictures, she goes to her
ranch and isn't above milking the cow.
BY CAROLINE
S 0 M E R S H 0 Y T
displayed in several show rooms out along Sunset Boule-
vard—have as their only occupants the salesmen who arep
supposed to be out peddling them, and they are asleep
in them.
Dreaming of days gone by, no doubt, the good old
days when glamor was glamor and when nobody minded
paying a slight sum a week for it. It wasn't the weekly
rental that meant so much to the boys in the glamor busi-'
ness, it was the sales which resulted from the "this, used;'
to belong to Miss So-and-So" angle that kept them rolling]'
on tires with a tread on them, and that's the loss that's"
making them so gloomy now.
Here's how it used to work. Memory alights first on that'
day back in '31 when the glamor business received one of ,
its greatest boosts in all its long history. A young girl,
unknown, by the name of Katharine Hepburn, was due'
to arrive in Hollywood, and an hour before her arrival on
The Chief at Pasadena a wire from he;r agent in New
40
Jimmy Stewart, along with a lot of other
high salaried men stars, takes care of his
own moderately-priced car and can be
seen often polishing up the buggy.
Remember the days when a million dol-
lars was considered well spent to bally-
hoo some new star no one had ever
seen? Simone Simon ended that era.
GONE ARE THE PALMY DAYS WHEN SWANK WAS A BIG BUSINESS IN HOLIYWOOE. THE
STARS HAVE RIGHT ABOUT FACED AND THERE'S A NEW WAY OF DOING THINGS NOW
York, delivered at the Cinema Motor Company, requested
that she be met by something "flashy." This was the one
word that described something luxurious in those days.
And thus it was that as this slim suit-clad figure
alighted from the train she found, among those who
clustered around her, one whose face was quite dark and
who looked out at her from under the very latest in
chauffeur's caps, and for the benefit of the photographers
who were waiting to snap her she said, "I'll be a few
minutes, Jones. You can take my bags and wait for me
at the car." Then between smiles and handshakes, she
watched the direction taken by Jones, or whatever his
name was, and a few minutes later, with reporters trailing
around her, she made her way after him.
The press gasped when they saw the car. It was an
imported model, an Hispana-Suiza, black, but with plenty
of shiny aluminum encasing its eel-like body. The trick
worked. They took pictures of her getting into it ; they
took pictures of her beaming out from it ; and the word
spread through the world that a new glamor girl had
arrived. The car, valued at twenty thousand dollars, it
might be added, cost Miss Hepburn only $30 a day, but
the lineage it received in the^ papers, if it had been bought
and paid for, would have cost her much more.
She didn't keep the car long, and since then of course
it has been completely overshadowed by its black sheep
descendant, the famous Hepburn station wagon ; l)ut at
the time it more than served its purpose, and Miss Hep-
burn also served hers. Not so long after Miss Hepburn's
first picture, the limousine found a very delighted owner
who could, from that moment on, boast to his friends
that they were now riding in the very same car in which,
once upon a time, Katie rode.
Today there is one lone star who still drives forth in
that early Hepburn tradition, and that is Connie Bennett.
And hers, sadly enough, is bought and paid for. As for
the others who don't even have limousines, they drive their
own small cars and on Sunday morning you can even see
some of them out Simonizing them. That homey, personal
touch, this back to back-bending trend which has become
so popular in the movie colony, it's this that tlie boys in
luxury row are sadly complaining about.
AND THERE is another type of glamor vendor who is
also scratching his head these days, and that is the bill-
board salesman who used to sign 'em up for seven-sheet
spreads on every main road, and on every five-point
corner from here to New York. He still rents plenty of
space to the movie producing companies to advertise their
forthcoming productions, and what's playing next at
your neighborhood theatre, but where are those old
personal campaigns, the kind that {Continued on page 101)
41
BY FRANC DILLON
KICKING DP A ROW TAKES TOO MUCH
ENERGY, AVERS HERBERT MARSHALL,
WHO HAS SEEN TRODBLE-MAKERS GO
THAT THIN
TEMPERAMENT," remarked Herbert Marshal
thoughtfully, "means to be fired by ambition to reach
certain goal, to be so set on accomplishing your aim tha
you cast everything else aside and are apt sometimes tc
be irritated out of all proportion -by things or people wh(
get in your way.
"Actors haven't got a normal job. It is largely tempera
ment that makes an actor."
It's been hinted, however, that his directors, fellov
actors and all who know him declare Marshall to be th<
calmest, most even tempered person they know.
"Oh, I burst out at times," he insisted. "I fight fol
my rights. Don't think that I don't."
I remembered hearing of an incident that illustrate
very well his ability to look after his own interests. Ac-
cording to the story, a certain producer treated a frient
of Marshall's in- a way that didn't seem quite cricket t(
the Englishman. He decided not to work for that produce
again, but instead of bluntly refusing future offers fron
that source, he instructed his manager to set his salary t(
that producer so high that no more offers would be forth
coming.
Imagine his surprise when the producer said, "All righl
if that's your price. When can you come to work?"
Marshall was then able to decline the offer with th
plea that he was too busy with other roles. For a principk
he turned down a role and a salary that were very inviting
And did so in such a deft manner that the producer doesn'
yet realize what happened. That is one way Marshall has
of "bursting out."
"When I have anything to argue about, I say it quietly
to the person concerned," he said, which certainly is not
Hollywood's usual way of doing things.
There the word "temperament" is used to cover a multi-
tude of sins of omission and commission. If a star
demands all the big scenes and close-ups, she is said
to be "temperamental," just as the same description
applies if she refuses to give autographs or makes
unreasonable requests.
When Mr. M. speaks his With the "temperc
piece, it's only to the per- mental" Simone in "Girl|
son concerned. Dormitory."
OFF AT THE DEEP END
42
CALLED TEMPERAMENT
SIMONE SIMON, in the short time she has been in
Hollywood, has threatened to put all past performances
of her predecessors out of the running with her unpre-
dictable performances.
Probably Hollywood anticipated^ a few unscheduled
pyrotechnics when Ruth Chatterton and Simone were cast
in Herbert Marshall's picture together. But that he would
encourage any such scenes by sympathizing with an
oflfender seemed unexplainable. However, in fairness,
Mr. M. spoke up in defense of the little French girl, whose
ability he greatly admires. And there was good, sound
sense in what he said, too.
"You know how difificult it would be for you to try and
make a picture in — say Hungary. You might understand
tlie language, as Simone does English, but you wouldn't
be able to understand their slang, their ordinary conversa-
tion. A language you learn from bopks is quite different
from that you hear on a set. You would be trying to
remember your lines, translating their meaning into your
own language in your brain, and simply wouldn't be able
to keep your balance. You couldn't take direction if you
couldn't understand it. That, I believe, was Simone's
trouble at first."
Having whitewashed Simone so beautifully, I baited
him with Katharine Hepburn, whom Hollywood calls
"temperamental," and with whom he worked in "A
Woman Rebels."
"You can't call a girl temperamental who brought a
lunch every day in her station wagon for twelve or four-
teen people," he replied. "And the most delicious food !"
he enthused. "She would invite the director, the people
who were working with her — props, cameramen and any-
one who happened to be around — to lunch with her. Her
servants brought the food out, but she helped them to
spread it out, fixed the tablecloth and waited on everyone
herself. It is pretty nice for a star to wait on table for
the people working in her picture. You can't call that
temperament," he said stoutly.
Clearly, Katie could do no wrong.
"As to barring visitors from her sets, I can't say that I
blame her. You know, I said a moment ago that actors
haven't got a normal job. When there are no outsiders
on the set we work along. I can make love to a girl with an
electrician two feet away from us holding a spotlight.
He doesn't embarrass me because he belongs there. We
think nothing of it. It's our work. But just let me catch
a glimpse of a strange pair of trousers or a new skirt
standing on the sidelines and my mind is bound to wander.
I'm immediately embarrassed. No one can be expected
to do good work with strangers watching.
BETWEEN SCENES we kid around, act a little crazily
and do things that to an outsider would seem a bit odd ;
things that sometimes mark real genius ; things that make
an actor different from his audience. We are slightly
mad. But what would seem like madness to an outsider
is sometimes inspiration. I think most actors would like
to be able to exclude visitors from the set. I know per-
fectly well, I should.
"Outside the studio I know nothing of Miss Hepburn,"
Marshall continued. "But temperament, getting back to
what Hollywood calls by that over-worked term, is silly.
It takes too much time and energy and is so foolish.
Nobody with brains goes in for it.
"When I came here I was advised what to do to get
along. I was told I would receive more consideration if
I had none for anyone else. It didn't make sense to me.
During my experience I've seen so many temperamental
stars go off the deep end, and I've never seen it pay."
One recalls Mr. Marshall's successful' career on the
stage, both in London and New York. As a boy he didn't
particularly want to be an actor. His father, Percy
Marshall, was a well-known star and Master Herbert had
no illusions about the stage. He chose to be a business
man and went about getting himself educated for it.
When that was done he became an articled clerk in a public
accounting business.
"But I couldn't seem to take (Continued on page 109)
With Deanna Durbin, who knows noth-
ing of being temperamental, in "Mad
i About Music."
With Katharine Hepburn in "A Woman
Rebels." Katie, temperamental? Now
stop!
The marriage of Virginia
Bruce to J. Walter Ruben.
Little Susan Ann Gilbert
was flower girl.
Virginia's romance with
Ruben began when he
directed her in "Bad
Man Of Brimstone." She
liked his direction so
much professionally that
she decided to continue
with it in private life.
44
Miss B. cmd
Mr. Ruben
on location
before they
were mar-
ried. Notice
the name
"Gilbert"
across her
chcrir!
SMALL TOWN GIRL
By KAY PROCTOR
^VIRGINIA BRUCE MAY BE A GLAMOR GIRL, BUT DON'T ENVY
HER, SHE WARNS, BECAUSE FAME, TOO, HAS ITS PRICE
VIRGINIA BRUCE was homesick. But not in the usual
sense which that phrase implies. After all, her home is
right where she is — a stately mansion in Beverly Hills.
And she doesn't long for the Broadway she once knew as
a glamorous Ziegfeld show girl.
She was homesick for the small prairie town of Fargo,
North Dakota, where she spent her youth. She wanted
to know again the fun of life in a square-cut red brick
house, of kitchen showers for brides and ice skating
on the town rink, a flat field flooded by the local fire
department and frozen by bitter winter cold.
You scofif? Sure. So did I when Virginia said as
much, over a steaming cup of tea. If ever small town
life seemed remote it was on that sunlit California after-
noon with the glamorous Bruce, exquisite in every detail
from the top of her shining gold head to the tips of her
hand-turned slippers.
What started this story, I suppose, was a letter with a
Fargo postmark Virginia had been reading. It was from
a former high school chum and was full of small gossip
about John, who had been one of Ginny's beaux in high
school, and his latest raise at the hardware store ; about
the cute thing Mary Louise's two-year-old Bobby had
said when the bridge club met at his mother's house ; ai)out
the grand time everyone had at the last shindig of the
B. and B. In Fargo that's not benedictine and brandy ;
it's Bachelors and Benedicks, the swank social club of the
town.
(There was an intimate P.S. to the letter. We'll get to
that presently.)
"I suppose that bucolic picture of contentment seems
vastly amusing to you now," I said. It definitely was the
wrong remark. She bridled.
"I don't know why it should {Continued on page HS)
45
STRANGER
THAN FICTION
By GLADYS HALL
ALAN MOWBRAY'S TRUE LIFE STORY
IS MORE EXCITING THAN ANYTHING
YOH'VE EVER READ IN A
HE BECAME an actor by mistake.
He is one of the painfully few survivors of the
Retreat from Mons.
He w^on four medals in the World War, loaned
them to a friend, forgot about them, had them re-
turned to him years later by Mrs. Joe E. Brown, who
found them in a pawnshop.
He once spent four months on a park bench, in
Central Park.
He was married in Reno as a precaution against
divorce. His wife was, before her marriage, Lorayne
Carpenter, Chicago Junior Leaguer.
He once seconded his pal, Maxie Rosenbloom, in
Maxie's last fight.
He was the first man to broadcast from an air-
plane. It was during the Canadian National Ex-
position and he officially opened the first air broadcast.
If he were not an actor he'd like to be a doctor
(in a girls' school!) or in the Diplomatic Service if
there was something doing.
He detests "Hollywood publicity." And engages no
one to "do publicity" for him. Says he used to read
how "Alan Mowbray was seen skiing at Arrowhead
where he is week-ending at his de luxe lodge" or "Alan
Mowbray rusticating over the week-end at his ranch
in the valley." He doesn't own a lodge. He doesn't
own a ranch. He doesn't week-end. He usually
works week-ends. A free lance, he worked forty-two
weeks last year.
He recently bought a house in Beverly Hills. It
is the first, as it is the only, home he owns.
He has lived too many times on the hard bedrock
of life, in the trenches, on Poverty street, to tolerate
pose, pretense, pomp or sham. He debunks every-
thing, including himself. When some socialite asked
him, airily, how his new house was furnished he said,
"Oh, with chairs and tables and things like that, you
know." When the socialite persisted and asked
"what kind of furniture?" Alan said, "Period. I
buy a i>icce one month, wait a month, then buy an-
other." He said, "Chairs are made to be sat in sofas
Away from the camera, Alan Mow-
bray's life centers about his lovely
wife and their two small children.
Alan accepts any role offered him.
Result? Scenes like the above, from
"Merrily We Live" with Patsy Kelly.
to be slept on, books to be read. . That's all I know
about interior decoration."
He takes any part offered him, sight unseen. Some-
times, he says, he may discover that he is the butler
falling in with the tea. Other times he gets a big
break. He figures that the law of averages will
operate in his behalf, so why worry? He is a "quick
study" and never looks at his lines until just before
he steps onto the set.
He lias only seen himself in one picture. And that
only because "I was a magician," said Alan, "and I
wanted to see how I did the tricks." He never sees
rushes nor any of his other pictures. He detests the
sight of himself on the screen.
He has two children, Patricia Mowbray, aged six
and a half, and Alan Mowbray, aged three. He calls
them "P. M." and "A. M."
• HIS FRIENDS are varied and various. Among
them, Bill Robinson, the president of a huge bonding
corporation, Clarence Muse, Joe Lewis, Guy Rennie,
Bart Marshall, Captain Erickson, the explorer, Pat
O'Brien, the Ritz Brothers, composers, surgeons,
crooner^, judges, vaudevillians. He says, "I don't
care anything about color, creed, social status or
race. So long as they are hot heels they are my
friends."
Which calls to mind one of the funniest cracks ever
made. One night Alan and Bill were together, on
some program or something. Alan was going on to
the Troc. He asked Bill to join him. Bill refused.
"Oh," said Alan, "drawing the color line, are you?"
Bill nearly died with laughter.
He has no enemies. All men are his friends. Which
is, really, all one need say about a man to describe what
manner of man he is.
There is not a picture, not even a snapshot of Alan
in all the rooms of his comfortable, homey Beverly
Hills home. It is not an actor's home. It is the home
of Lorayne Carpenter Mowbray and her husband and
their children. While Alan and I were talking the other
afternoon, small "P. M." came in and sat with us,
Most actors, most fathers, indeed, would have sent the
child scuttling. Not Alan. "She has as much right
in here as I have," he said.
He authored the play, "Dinner Is Served." It
was produced in New York, London, Hollywood,
Toronto and Harrisburg, Pa. It took him five nights
to write it. It was produced in five cities. There were
five members in the cast. He has also written five
other plays, movie scenarios and one uncompleted
novel. He wrote, directed and acted in a picture
called "Motives." He has written three one-act plays
called, "A Bang and Two Echoes." And these plays
demonstrate that under the springy Mowbray walk, the
ready Mowbray laugh, the bright bold glance of his
eye, the wise ci-acking, the ad libbing, there is a spirit
as strong and flexible as steel, a heart as tender as a
woman's, an imagination touched by the sorrows of all
men.
Alan Mowbray was born in London, England,
August 18th, 1896. He will tell you that his sole ances-
tors were Adam and Eve. His earliest ambition was to
be a soldier. Came the World War and Alan was a
soldier indeed, enlisting with the famous "Old Con-
temptibles." He was in France, under fire, for four
and a half years. He was gassed twice, wounded five
times, decorated by King George — the decorations
which he subsequently loaned and lost and eventually
recovered. He knows all the mud and misery, the
gallantry and gravity of the trenches.
When he came out of the war he was at loose ends.
Didn't know where to go, what to do. He often says
that the turning of street corners has determined his
life for him. He had, when he got back to London,
a date to meet a pal for luncheon. The pal was an
actor and had an appointment at a theatrical agency.
He suggested that Alan meet him there. "If it rains,"
the friend said, "just go inside and wait." It rained.
Alan went inside, sat among the applicants on one of
the benches, and waited. A producer appeared. He
pointed a long forefinger at (Continued on page 84)
BLDFFS THAT
WORKED
THEY OWE A GREAT DEAL OF TBEIH SUCCESS TO
THINKING OP A HOAX AND -SEEING IT THROUGH
Sonja made movie
executives Henie-
conscious before
they ever saw her
on skates.
Bill Powell landed his raise
before he even began to work.
BY
DORA ALBERT
THE RED-HEADED girl laughed incredulously.
"You mean," she said, "you expect me to pretend to be
an American ? Why, who in the world would believe such
a story ? The map of England is written all over my face,
and my accent is as broad as the British Empire."
The tall Texan twisted his hat in his hand.
"I can teach you to talk like a Texan in a few weeks.
And if you'll dye your hair black and cut it with bangs,
you'll look as American as Colleen Moore."
"All right, Mr. McCloud," said the red-head. "I don't
think it'll work, but if you're willing to gamble, I'll try it."
And that's how British Binnie Barnes came to be billed
as "Texas Binnie" on a South African tour in which she
helped Tex McCloud put over a patter and rope act. She
learned to handle a rope like the girls who are reared to
that sort of thing, and she studied geography books on
Texas till she knew more about the Lone Star State than
most of its natives.
She even returned to England, where she was billed in
a night club as "Texas Binnie." At that time American
performers were very popular abroad, and Chariot, the
producer, caught her act one night, sent for her, and
asked, "Are you an American?"
"Taixan," she replied.
And she was hired for "Chariot's Revue," where she
Binnie Barnes, a Texan? Well, she
claimed to be — and got away with it!
made such a hit that eventually she landed in Hollywood.
Today she'll frankly admit that her career was founded
on a bluff. The astonishing thing is that so many Holly-
wood careers are.
Perhaps it's because the qualities needed to put over a
successful hoax often tend to make people great actors
and actresses. They must be reckless and daring, willing
to gamble their careers on the success of their hoax. They
must not be too sensitive, for if they are, fear will over-
come them and they will not be able to see the bluff
through, and they must be able to act the role they have
chosen to play so skillfully that the wisest producers are
deceived.
You might imagine that producers would be furious
when they find they have been the victims of a bluff, yet
in Hollywood the successful perpetrator of a hoax is con-
gratulated rather than disliked.
Rosalind Russell put one over which was the exact
opposite of Binnie Barnes'. A number of years ago, when
she was bluffing her way along the early bumpy road to
fame, she heard that E. E. Clive's All-British Copley
Players were about to put on a show. When she went to
the producer she spoke to him in a crisp English accent,
telling him that she was an experienced actress. Not for
a moment did he question her nationality. Rosalind got
the job, which started her on the upward climb. And how
shocked her fellow actors were when they learned weeks
later that she was born just a state away from where they
were playing !
IRENE DUNNE put over a successful bluff even before
she became an actress. Just after she graduated from
school, she got a job teaching in a small town in Indiana.
When she heard that a scholarship was being offered for
vocal students by a musical school in Chicago, owned by
the late Flo Ziegfeld's father, she saw her chance. Al-
though she had never studied voice with a professional
teacher, her mother, a pianist, had taught her.
She went to Chicago, announced that she had studied for
years, was granted an audition and won one of the scholar-
ships. As a result, the small Indiana town lost a teacher.
When Bill Powell graduated from dramatic school in
James Cagney figured out a fast one
— and his studio had to believe it I
New York, he went to David Belasco's office to ask for a
job. Even in those days Bill was well turned out. He
was suave and well-groomed, and he had a pleasant voice,
so Belasco's son-in-law agreed to give him a chance as an
actor. But when Bill heard what the salary was, he was
annoyed rather than grateful. For Belasco's office refused
to pay him more than $18. a week.
For several days he haunted producers' offices, until
finally he found another who was willing to take a chance
on him. But he too, wouldn't pay more.
Startled that two producers should have offered him
the same salary, Bill investigated and discovered that
that was the standard salary paid all young men who
had just graduated from a dramatic school. The only way
to persuade a producer to pay him more would be to con-
vince him that he had had a good deal of experience.
To Arch Selwyn's office he went, to ask for a part in
"The Ne'er-Do-Well."
"Any experience?" asked Mr. Selwyn.
"I've been with stock companies in the Middle West for
years," said William Powell.
Counting on the fact that it would be too much trouble
for Selwyn to verify his story, he mentioned the names
of several companies.
"All right," said Selwyn, "I'll start you at forty dollars
per week."
SON J A HEN IE, today, is one of the ten greatest box-
office stars in Hollywood, but a little over a year ago
when the magnificently determined Sonja decided to be-
come a motion picture star, Hollywood had never heard
of her, even though she had won ten ice-skating cham-
pionships.
H ow did Sonja succeed in interesting movie magnates?
According to Dorothy Kilgallen, the girl reporter who
flew around the world, it was all accomplished through a
trick.
The fact that Hollywood wasn't interested in her did
not deter Sonja. She decided to make Hollywood want
her. As she traveled across the continent, she was met ai
the big cities by reporters. In one city she told them she
had signed a contract with {Continued on page 82)
LOLA LANE, the round eyed ingenue, has been
replaced by a new sophisticated Lola. The new
Lola made her debut as the temperamental movie
star, in "Hollywood Hotel". There is an interest-
ing story behind this right about face of Lola's — a
story unparalleled in the career of any other
Hollywood actress.
Lola told it to me while we were having lunch
in her dressing-room. She had just finished a
•morning of strenuous scenes, where, as the fear-
less reporter in "Torchy Blane in Panama," she
had jumped from an ocean liner into the ocean.
She was wrapped in a heavy robe to counteract
the chill of the ocean (a large tank of water lying
below her stateroom door), and her maid was
holding a hot drier on her wet hair.
"When I first arrived in Hollywood, I thought
that the world was my oyster," Lola began. "The
thrill and excitement of all the publicity and
glamor that surrounds every young girl making
her debut in pictures, swept me into a make believe
world. Jumping as I had from a piano playing
job in the little movie theatre in my home town,
Indianola, Iowa, into a 'Gus Edwards Revue' and
them into the 'Greenwich Village Follies' and from
there onto Broadway with George Jessel in 'The
War Song', success came too fast and too easily.
When I was offered a motion picture contract with
the Fox Studio, I thought the world was mine to
do with as I pleased.
"The idea seems prevalent that I gave up my
career when I married Lew Ayres and again when
Al Hall and I were wed. That is not the case. I
admit that a happy marriage with children might
have driven away my desire for a career. As mar-
riage did not turn out happily for me, I continued
working whenever the opportunity presented
itself. There were long, discouraging waits be-
tween work.
"As time went on. the parts which I did and the
pictures I played in got less and less to my liking.
I became convinced that the ingenue roles I was
being cast for were not suited to me. However !
was unable to convince directors and producers.
REALIZING that something drastic must be done
if I expected to go on with my career, I com-
menced to study myself — ^take myself apart to see
what was wrong. It commenced to dawn upon me
that my style of dress (like most young girls, I
liked frills and ruffles), my clowning and laughing
(the Irish in me coming out), my gay, carefree at-
titude towards life had definitely stamped me as
an ingenue. I realized that if I expected to do
grown-up, sophisticated roles that I must actually
grow up. Deliberately I set about to make myself
over.
"I leased a modest, white farm house in a re-
mote, quiet spot of the San Fernando Valley. As
I always have been acutely sensitive to my sur-
roundings, the first thing I did out there was re-
place the heavy, dark window drapes throughout
the house with bright, gay chintz. I had plain
ivory and turquoise slip covers fitted over the
somber-hued divans and chairs. The red brick
fireplace in my bedroom (it was that fireplace that
made me decide to take the house) and the one
in the living room were painted white. Bright blue,
PRESTO CHANGE-0!
Rosemary and Lola Lane en-
joy a cup of tea together be-
tween scenes.
The lucky Lanes have grand
senses of humor and love to
kid each other.
Rosemary, Dick Powell and
Lola going dramatic in "Holly-
wood Hotel."
yellow and green outdoor chairs and
couches were set around the lily pond
fountain below the long brick terraced
porch and under the acacia trees.
"I had never actually lived in the
country before," said Lola. "Never be-
fore had I spent days on end away from
people and excitement. I loved it.
"In the peace and quiet of my new
home I had time to read the books that
before I had never gotten around to. I
read plays and scripts. I studied books on
diet and health. I put myself on a rigid
schedule of diet and exercise. I took long
walks in the hills. I spent hours stretched
out in the sun.
"My hair that had been bleached a gold-
en yellow, so that the camera could better
pick up the lights, grew back to its natural
light brown shade. As the permanent dis-
appeared the natural, soft wave returned.
I changed my hair dress from the short
bob to shoulder length."
Before long the outdoor life, rest, diet,
exercise and study commenced to change
Lola's appearance — even her personality.
Her full face became thin and interesting.
Her round eyes seemed to narrow and
grow darker. (Continued on page 115)
Lola enjoys the glamor and excitement
of working in pictures.
BY
, IT'S A LONG LANE
THAT HAS
NO TURNING,
AND .
2
RILLA nil
IB ORG LOLA IS STANDING
AT THE
CROSSROADS
NOW ^
Lola in her latest, "Torchy Blane in Pan-
ama," gets instructions from Paul Kelly.
51
LOVE AT FIRST SIGHT
BY IDA Z E I T L I N
When it comes to trip-
ping the light fantastic,
Mr. Murphy is second to
just about nobody.
m mi
THAT PRETTY GIRL HE WOULDN'T BE ON
THE SCREEN TODAY! MEET HOLLYWOOD'S
MOST ROMANTIC COUPLE -THE MURPHYS
luuji iiumnniiu uuuill — iiiL muiiiiuj
NOT to keep you in suspense, they're the George Mur-
phys. They fell in love as kids, and at first sight. There
had never been anyone else for either. George became,
a dancer to keep Julie from going to Florida with a
show. They started their careers together and struggled
together till they reached a point where George could
go it alone. Then Julie bowed out. She's been asked
a dozen times to make film tests. "One crazy person
in the house is enough," she replies sweetly. "I'd
rather concentrate on being his wife."
They still hold hands at the movies. They still prefer
each other ^s dancing partners to anyone else. They
still have more fun with each other than with anyone
else. They like stepping out together, but they'd just
as soon stay home, just so it's together,. They have yet
to be bored in each other's company.
"If the time ever comes," says George, "when I have
to choose between marriage and the movies, I'll choose
marriage. Peace of mind's more important than money.
I can have peace of mind without the movies. I can't,
without my wife."
It all goes back to the days when George was a Wall
Street runner at fifteen per, and Julie came from De-
troit to study dancing at Ned Wayburn's School. He
hadn't chosen running as a career. Engineering was his
business, but a cable broke in the Pennsylvania coal
mines where he worked, and landed him on a sickbed.
When he got up, he couldn't go back to the mines. Ar-
riving in New York with a capital of seven dollars and
thirty cents, he met a college friend who got him a job
in his uncle's brokerage house.
He'd met Julie in Detroit, where he'd gone to visit
a married sister. He'd liked her chestnut hair and blue
eyes, her serenity and spunk. True to his Irish heri-
tage, he was mercurial, shooting to the heights or the
depths with equal ease. She was calm, cool and col-
lected. It gave him a sense of comfort to be with her.
Besides, she could always see the point of a joke, even
when the joke was on her. What was more, she could
cap it with a casual wit of her own. It struck George
at once that here was a girl in a million.
In New York they saw each other often. One day
Julie told him she was going to Florida with Ziegf eld's
"Palm Beach Girl."
George turned moody. "Girls sometimes change
when they go away with shows like that," he informed
her darkly.
"Thanks, Murph. It's nice of you to think there's
no room for improvement."
"Well, if you've got to go into show business, we'd
be better off as a dance team."
She eyed him for a moment, not knowing whether
to laugh or scold. She saw he was dead in earnest, and
obeyed an impulse. "If you can get us a job before the
show leaves, I'll stay. If not, I'll go."
George has that other Irish quality of bullheadedness.
He may have promised rashly. He'd make good his
promise if flesh and blood and tenacity could do it.
When the market closed at three, he'd be off oh his
hunt. , His acquaintance was large, and he had a per-
suasive tongue in his head. It was that, rather than his
dancing ability which finally won him a hearing with
Emil Coleman, a bandleader he knew who conducted
tea-dances at 10 East 60th Street. Coleman interceded
for him with the manager. He and Julie danced for
them.
"Hm," said the manager. "Not so hot."
"They'll improve," pleaded Coleman, who by this
time had made their cause his own. "Besides, they
know lots of kids around town. They'll bring 'em in."
That had been George's strongest argument, and that
argument clinched it.
"Try 'em," said the manager. "And tell 'em not to
be so grim. Tell 'em to smile." {Continued on page 91)
George and Juliette
Murphy fell in love
as kids and have
been at it ever since.
Eleanor Powell and
George have so
much fun dancing to-
gether they just hate
to be paid for it!
They do, huh?
All Preston's spare
time is spent on his
fifty-foot power crui-
ser, which he
bought with his first
movie earnings.
Preston won praise
for a small bit in
"I'm a Fugitive from
a Chain Gang."
Foster begged for
the part just be-
cause it was a Paul
Muni picture.
THE VANISHING American is one who retains some
of the quaint habits of a simpler age. Noel Coward is
not his prophet, and he doesn't have to start the day with
a pick-me-up. He honors the Fifth Commandment. He
enjoys a night club on the average of once a year. Home
is neither a hotel where he hangs his hat nor a decorated
interior for impressing the Joneses, but a gathering-place
for the people he loves. He's not ashamed of sentiment,
and values the old-fashioned virtues above a flip crack.
One such vanishing American is Preston Foster, and
this is the story of how he got- that way.
It goes back to his ancestry, German on his father's
side, English on his mother's, and no nonsense about
either. An average small town family in New Jersey,
where money wasn't plentiful but afifection was. Three
youngsters, a boy, the pride of his father's heart, with
eyes blue as the sea he would grow up to love, and two
younger girls. The kind of family that had fun together.
"We always had better times with each other than we
Meet Mrs. Preston
Foster. They fell in
love when both
worked for a ship-
building corpora-
tion years ago.
BY IDA
Z E I T L I N
could find outside," says the boy, grown up. "The elder
girl was a tomboy, and we played together as kids, always
clowning round. No matter what the distress might be,
there was usually something funny about it. We still live
pretty much like that. My wife's on the quiet side, but
she enjoys the fun from the sidelines."
A household of laughter then, but of discipline enough.
There was never any doubt that father and mother were
boss. "My father had a way of taking me by the fore-
lock," says Foster, "and saying : 'Young man — ' " He
dropped his voice into his throat. "He'd never hurt me,
just catch me by the forelock and hold me there. The
only time he ever laid the weight of his hands on me was
once when he caught me holding my younger sister by
the heels over a sandpile, and trying to push her head into
the sand. The only time he ever had me up on the carpet
for fair was when I was eighteen, and said damn in my
mother's presence.
"That was fifteen years ago, (Continued on page 96)
PRESTON FOSTER IS OHE WHO HAS RETAINED THE QUAINT HABITS OF A SIMPLER AGE
54
THOSE HOLLYWOOD MEN!
IF IT'S ROMMCE YOD'RE LOOKING FOR, YOD WONT FINE IT IN
MOVIETOWN AND NO ONE KNOWS THAT EETTER THAN MISS RICE
EY ELEANOR PA
IT ALL began with a letter and a fire and a rainy
day at home.
The letter was a part-fan and part-confession
missive, written by a girl iiT Kansas to Florence Rice
in Hollywood. The fire was crackling cheerily on
the wide hearth in the white-paneled living-room of
Florence's beach house. The rain pounded, as only
California rains can pound, against the square win-
dows.
Florence, dressed in peach and turquoise satin
pajamas, was sitting on a low divan before the fire,
looking through her mail, when I arrived.
"Read this," she said and gave me the type-
written letter with its small-town-in-Kansas address.
The writer of the letter explained, first of all,
that she was twenty-five years old and a stenog-
rapher in one of the town's two banks. "I'm telling
you these personal facts merely to prove to you
that I'm not a very young and empty-headed girl,"
she wrote. She knew all about Florence. That she
was the daughter of Grantland Rice, the famous
sports writer and maker of those popular short
sports pictures. That she had had a gay and ex-
citing girlhood of private schools, summers at
various Eastern beaches, trips to Europe and a con-
stant association with the interesting, colorful people
who were her father's friends. That she had ap-
j>eared in several Broadway shows before going to
California. That she had played the leading femi-
nine roles in a dozen not very important pictures.
And that she had recently signed a new contract
with Metro-Goldwyn-Mayer, which made her a
major featured player.
So, because Florence had known the struggles
and delights of both New York and Hollywood,
Mary of Kansas was writing to ask Florence's ad-
vice. And here is where the letter reached its real
point and purpose. The girl in Kansas was saving her
pennies, going without all the luxuries and many of
the necessities of life, in order to go to California,
the land of sunshine and romance and handsome
men. Spinsterhood was staring her straight in the
face. The men whom she knew were neither in-
teresting nor romantic. So she was preparing for
one final fling at romance in Hollywood where all
the handsome, clever and successful men seemed
to be congregated, where romance was in the very
air. Did Florence think she was planning wisely
and well ?
"What are you going to answer?" I asl^ed curi-
ously. It was the kind of letter which demands a
reply and Florence is always faithful to her fan
mail.
"I'm going to advise her to stay in Kansas," Flor-
ence said, her eyes twinkling. "If she is looking for
men and romance, she'll certainly be disappointed
in Hollywood."
"What's wrong with the (Continued on page 94)
WHAT DO you say if, instead of pointing out object
lessons in beauty among the movie stars this month,- I
delve into my notes on just plain folks? I have a horrid
habit of studying closely every girl I see — on the street,
in the bus, in the stores — and one of these days, I know,
some mdignant gal is going to speak to me sharply and
probably smack me soundly for my nosiness. However,
in the meantime, if it brings grist to the Mary Marshall
mill, who cares?
I want to pomt out average figure and face faults and
tell you a little bit about correcting them. I shan't con-
cern myself with the very fat, the very thin, the very beau-
tiful, or the downright ugly. (No woman is downright
ugly, anyway. No, she ain't!) I want to talk, in other
words, about that person concerning whom her friends
say, "She'd be an awfully pretty girl, a very attractive wo-
man, except for ..." It's that nasty compound conjunc-
tion, preposition, adverb — whatever it is — "except for,"
that I'd like to eliminate from your life.
First, three figure faults, which I 'saw on every beach I
sunbathed on last summer and which I see regularly in
evening gowns all winter. Sketches I, II, and III, exe-
cuted in masterly style by our art department, illustrate
these too-common faults of the otherwise good figure:
One, the bulging abdomen — and why is it that girls with
tliis blight-on-the-body will pull belts as tight as possible
and simply refuse to wear girdles? Two, the hunk below
56
the hip — and girls with this figure fault seem to dote upon
standing with one leg thrown outa joint, so that the bulge
is even more evident. And three, the figure that is very,
nice except for (there we are again) a shapelessness at the
waistline. i- u
Here's how to go about correcting these faults, i^or the
protruding turn (if you are not really fat all over) perhaps
very simple measures will help. First, wear a girdle, with
some stiffening in front. Don't let that stiffening change
from a straight line to an inelegant curve — you must sit
straight as well as stand straight. Perhaps you bloat your
abdomen with too much liquid. Get out of the habit of
drinking with meals — drink after meals, even though you
at first miss the comfortable sensation of sluicing down
food with a beverage. Have one liquid meal a day if you
like — that's fine — but don't chase solids with liquids. If
you're a regular fish about drinking water, cut down to
one large glass between meals.
IF LIQUIQS ain't the cause behind the bulge, perhaps
it's too bulky food. Cut down on meats. Eat more vege-
tables. Of course, I don't need to tell you that candy,
cake, pie, ice cream and cocktails never did anybody's
stomach any good, either internally or externally. Stand
or walk about for at least half an hour after each meal ;
if you have to trot out and do the dishes, don't complain —
it's good for your figger. Put conscious effort into keep-
ing your middle fiat whenever you can. You can't think
IF YOU ARE OHE OF THE J0ST PLAIN FOLKS ^
WITH AVERABE FIGURE AND FACE FAULTS, HERl
IS TIE REMEDY Y0i1E BEER IflttKlG FOR
IV. Thin
them. V. &ncai lediures? Ac-
centuate them.
about it all the time, of course, but there are lots of mo-
ments when you can definitely concentrate upon it. Other
times, how about whipping up a password with a sister or
a friend? Ask said sister or friend, whenever she sees
you poking out in front, to say to you snappily, "Potato
chips !" or something.
If it's simply a slight excess of fliesh which causes figure
trouble No. 1, this exercise, not new, but helpful, will
work: lie on the floor, face down, and grasp your heels
with your hands. Rock your body back and forth. This is
better than the well known rolling stunt for taking off ab-
dominal fat. A small, hard pillow is sometimes helpful.
If it's a slackness of the abdominal muscles which is un-
streamlining your silhouette, here is the best exercise in
the world, even if I have repeated it umpteen tim^s : lie
on the floor on your back. . Legs together, knees stif¥.
Bring your legs up, together, to a right angle with your
body. Let them down, down, slowly, to within a few
inches of the floor, but don't let them touch the floor.
Bring them on up again. Repeat, beginning with five
times, working up to as many times as you can spare
minutes to do. Wear a boned girdle. But — for an hour
a day, perhaps, when you're alone — practice going without
a girdle and see how nice and flat you can keep your turn
without its assistance.
Figure Fault II : diet has nothing to do with this — exer-
cise is the only cure, and it takes a lot of patience to cure
it, too. First, wear a long girdle, that will hide this bump
when you're wearing average-fitting dresses. Keep away
from molded gowns until you get rid of it, choosing softer
or even bouffant styles, if you can wear them. Come
summer, choose a bathing suit with some sort of skirt
effect.
Second, you can fool some of the people some of the
time about this figure fault, if you'll do this : when stand-
ing, tighten the muscles of the thighs. It will pull in that
bump like anythin'. Never stand on one foot, with the
other leg "at ease." Do not flex the knee nearest the be-
holder, in the accepted manner of the movie star posing
for fashion pictures. Stand straight, and keep the thighs
tense.
Third, get busy and roll this lump away. Sit on the
floor and roll from side to side on the derriere — rolling
far enough so that you touch the offending bump. Also,
get down on hands and knees and kick back — left, right,
left, right — just as far and just as hard as you can kick.
And, believe it or not, swinging your hips in the well
known hula-hula motion is grand for muscular supple-
ness. Even if you feel silly, go on and do it.
Figure Fault III : stretch for grace and for a slender
waistline. Stretch down — in front of you and to either
side, with your knees straight and stiff, and try to touch
a point just beyond your actual reach. Stretch nf^, on tip-
toe, and try again to touch (Continued on page 113)
57
1
\ u ^
00\
ALICE BRADY has Hollywood impaled on the horns
of a dilemma because Hollywood doesn't know what to
think about Miss Brady !
For six years Miss Brady has fluttered through films,
waving her hands wildly about, throwing her voice into
antic cadences, making the outlanders howl with laughter.
Miss Brady was, accordingly, neatly catalogued "a comic."
It made no difference that Miss Brady had come from
the New York stage, one of the great dramatic actresses
of the theatre. Miss Brady clicked as a comic on the
screen, and as a comic on the screen she must continue
to click.
Now, in "In Old Chicago," she has done such a right-
about-face as bewilders a town which believes that black
is black and white is white ; Oakie, ftmiryr Muni, unfunny,-
and that a lady who tickles its ribs does not, normally,
agitate its tear ducts.
The question Hollywood is asking is, simply: Is she
funny? Or isn't she funny? There are the twin masks
of Comedy and Tragedy, of course. Well, then, does she
caper about in her private life, wearing the mask of
Comedy? Or does she sit, somber and brooding, behind
the mask of Tragedy?
The answer, of course, is both. But I anticipate.
The other night I was invited to have dinner with
Miss Brady.
So, I arrived at her home in Beverly Hills, a spacious
white house somewhat in the Italianate style. A home
occupied by five dogs, five servants, Miss Brady and a,
state of perpetual if pleasant pandemonium. The five dogs
scuffle and yelp constantly ; the five servants are not suffi-
cient, it seems, to keep the domestic machinery functioning
smoothly.
WE DID, in fact, dine. Eat would be too lowly' a word
for it. We dined on a round table placed, felicitously,
near the fire; the table richly mounted in scarlet and
silver-toned damask, fine old silver, elegantly cut crystal.
Miss Brady made a face at the pigeon pie and said, "I'd
just as soon take a pill !" There was, also, fizz. Fizz is
lier name for that aristocrat of beverages, champagne.
Which she likes to drink from tall glasses equipped with
chunks of ice, not, as she knows very well, the way
cannoisseurs drink champagne. But Miss Brady does in all
things exactly what she feels (Continued on page US)
58
Puttin' on the Ritz! Brian
Aherne and Constance
Bennett, in white tie and
mink, step out in that
"luxurious" limousine!
Gary Cooper proves that a screen hero is really a hero when he has one
of those six a. m. calls. Just one more stretch before he answers the phone.
"Sure I'm up." Practically at the Something's wrong with this pic- Even a screen hero's gotta work,
studio right this minute, aren't you, ture. But what? Gory, we don't so Gary is off to the set of "Blue-
Gory? think you're awake! beard's Eighth Wife."
The bride comes home. Even a good excuse
like a honeymoon couldn't keep Virginia
Bruce cmd J. Walter Ruben away from home.
One of the cast goes to the "Tom Sawyer"
preview with her best beau. Cora Sue Col-
lins and Freddie Bartholomew have a date.
Fannie Brice and her escort both have a
sense of humor. He's Jackie Cooper, all
grown up.
Andrea Leeds clasps the arm of Skater Jack
Dunn with that contented look. Meaning
they're a new romance.
The Fred Astctires take
in "Tom Sawyer," too,
which incidentally, is as
much fun for grown-ups
as for oie swimmin' hole
devotees.
ey" say that Ida
upino and Louis
Hayward will stroll
up the bridal p
shortly. Annd-hoi
they're everywhere
else together.
Here is little Durbin
out on her first date.
The lucky lad is
Jackie Moran, who
is taking Deanna tb
see him in "Tom
Sawyer."
Margot Grahame and
Lester Matthews, a
couple of players from
London town, "do" the
Wilshire Bowl together
and talk about home.
Constance Bennett does a "Gertrude Ederle"
in her own back. pool. Yep, the Bennett
would rather swim than make cold cream!
Here she is with a four-footed friend who
looks as if he understands a thing or two.
Anyway, he is Connie's favorite canine.
A two-footed friend who comes to discuss
scripts and studio business. Don't you
know, Mister, this is to be a day of rest?
A DAY OFF
A pretty picture of a pretty picture player.
Miss Bennett, minus tempercanent. is back
in the movies to stay.
You'd imagine a fine dancer to
be a fine tennis ' player, now
'wouldn't you? Well, Fred As-
taire is. When he's not at the
studio, he is out practicing.
This looks enough like a dance
pose to make Astaire feel right
at home. Guess dancing and
tennis go together — eh, wot?
Here's something coming, and Mr. A. is
gonna wallop it right back. Note the
concentration, please.
TENNIS
Now, we really have something I Looks
like a stunt play's been accomplished,
from the pained expression on his face.
If you're up on your tennis, you
know what Freddie is going
through here. He has served
something to his opponent and
is avidly watching for the effect.
Reaching for a high one with a
look of real confidence. Yes,
seems as if Freddie really
knows his stuff!
Andrea Leeds, Charlie Mc-
Carthy and Edgar Bergen.
Jack Oakie and Dorothy
Lamour go Hawaiian!
Edgar Bergen and Charlie McCarthy have turned
down offers running up to $5,000. for a single ap-
pearance, but we know how you can get their act
for nothing. All you have to have is Bergen's phone
number. Just call the house and ask for Charlie,
and if Bergen is home he'll bring young Mr. McC.
to the phone and entertain you as long as your
nickel holds out.
play, "Golden Boy," few are aware that her husband,
Leif Erikson, is also in the same show. He's doing
a walk-on bit, just to be near his wife. The word
is, though, that hell get a leading role m Odet s next
production.
Junior Diversion
Washington, Note!
Lost year Carole Lonibord worked hard, mode
$460,000 and poid most of it bock to One goTemment
in toxes. Right now she is in the middle ^ o three-
months' Tocotion. and onr spies report thai she plans
to tcdce it easy this year. It's a drostic situation,
boys. How con we build battleships with Lombard
lying down on the job?
More Lombard information: When Miss L.
finishes a picture she always has her phone number
clianged so her studied can't contact her until she s
ready to work again. . . . The sheepdog Clark
Gable gave her for Christmas is very unhappy with
Carole's Siamese cats. She's thinking of hiring a
wolf in sheep's clothing, just to keep the hound
contented.
Oh Boy!
Martha Roye is doing oil right these days. She has
her own aportment Mymo Loy's former moid. Elisso
Londi's former secretary, and she hos just added to
her collection of "jools" a $2,500. bracelet. The brace-
let is o 9-piece ndniature orchestro. done in diamonds
and rubies. So when Martha yells "Oh Boy!" these
days, she means it.
Although most people know that Frances Farmer
is currently a hit on Broadway in Clifford Odet's
All Hollywood — as they soy in the gossip columns
—is watching the r<«nance between lackie Cooper
and Bonito Gronville. They're working together in
"White Banners," and Jackie sent her flowers on her
15th birthday. You know what that means. It'»-
wedding bells any day now.
On a clear day out here you can see three gents
puffing heavily and pedalling bicycles over Cahuenga
Pass. The gents are Rudy Vallee and his two sec-
retaries, and they're doing it because Rudy deaded
to take off a little weight Every mormng they cycle
to work, followed by Rudy's limousine, which collects
the bikes at the studio. The secretaries, who would
rather lose weight than their jobs, say it's a very
healthful practice.
Unemployment Note
VGm Marlene Dietrich, recently employed by a
major studio, has rented a cottage in Beverly Hills
and taken her furniture out of storage. She expects
to make her home in Hollywood, and many of her
friends hove told her she ought to be in pictures. It's
nice work, they edl tell her. if you con get IL
One publicity department, justly eager to plug its
forthcoming pictures, sends the following : "Dorothy
Lamour and her bandleader husband, Herbie Kay,
will 'You and Me' it when he begins his engage-
ment at the 'Cocoanut Grove.' Later they plan a
'Tropical Holiday' in Hawaii." You can probably
72
Carole Lombard and Clark Gable
make the rounds of the night spots.
A Dutch girl and a guy from Iowa
— Anita Louise and Ronald Reagan.
gather from the above that the recession has hit Hollywood.
Congratulations
They're congratulating Dick Powell on the impending arrival of
an addition to his family, and Joan Blondell blushes properly when-
ever she's within eorshot. Incidentally, did you know that when
he's working and she's not, he phones her every aitemoon at three?
The other day, though, he didn't get to the phone until three twenty.
Said Joan: "Don't you love me any more?"
When Jack Haley's option was taken up by his studio recently,
Mr. H. had a ready explanation for it. He claims the main reason
was that no one was able to scrape his picture off the wall in the
studio reception room.
Ditto, Sam
This month's Sam Goldwyn story: Mr. G. recently returned from
Hawaii on the Lurline. The boat docked at San Francisco, laid over
a day and pulled out for Los Angeles. At sailing time several hun-
dred people were at the dock waving goodbye to friends. Sam, at
the rail, waved back and yelled, "Bon voyage!"
His studio looked all over for George Brent the other day. He
was scheduled to appear in Weaverville, California, for the pre-
miere of "Gold is Where You Find It." The studio couldn't lo-
cate him by phone, so they resorted to the radio, sending out
queries for him on their own broadcasting station. Brent, like
gold, is where you find him. In this case it was Palm Springs.
Family Pride
Looks as though the one-time feud between Al Jofson and the
Warner Brothers is being carried into the second generation — which
will distinguish it as the only second-generation feud in these ports.
It happened at o children's party given by Darryl Zanuck's young-
sters (who can afford it). When young Sonny Jolson arrived at the
affair he marched immediately over to Mervyn LeRoy's son, Warner,
and socked him- Rumor has it that he apologixed later, when he
discovered that Warner's papa had just transferred his portfolio to
Metro. After all, you can't sock a guy just because his old man
doesn't work for Warners'.
The latest Hollywood beauty hint— and we got this straight from
a Hollyvyood beauty who does a lot of hinting— is colored eyelashes
for evening wear. If you're a brunette, the local experts have de-
cided you should wear brown lashes with blue tips. And if you're
a blonde, you buy yourself a set of gold ones. Personally, we're
going to try to get another year's wear out of last year's.
Good Casting!
John and Elaine Barrymore have iust bought a play, called "My
Dear Joan," which they will try out in San Francisco as soon as John
finishes his picture commitments, which will be in August. If the
play goes over, they vrill take it to New York. What's news about
this item is the fact that John will play Elaine's father!
John Barrymore's comeback is now officially successful. A small
theatre on Hollywood Boulevard, playing a revival of "Bill of
Divorcement," billed it "John Barrymore in 'Bill of Divorcement'."
And not even a mention of Katharine Hepburn.
Ritzy, huh!
After scoring in several recent pictures, the Ritx Brothers tried to
live up to their name by insisting on telling directors iust how their
scenes should be played. Most comedians are extremely unfunny
when they decide to go serious, so Darryl Zanuck took the balmy
brothers into his private office and explained to them that directors
have a weakness for directing their own pictures. The brothers
got the idea, ond now all is calm in Beverly Hills.
And the best act in town — another free one — is put on by Martha
Raye and Ruby Keeler. For their own amusement they do a
screaming takeoff on the Busby Berkeley girls. If you Berkeley
girls would only leave the room for a minute we'd go into detail.
73
Charles Boyer and Pat Paterson
attend "Goldwyn Follies" preview.
James Cagney and Pat O'Brien step
out together. They are old pals.
Another Gorbo?
During the making of "The Adyentures o£ Motrco Polo," Sigiid
Gorie. Goldwyn's Norwegian importafion, was billed a» the "Girl
Who Didn't Know Hollywood." Reports from the Goldwyn camp
were that Miss Guiie had never been on Hollywood BouIoTord,
had never entered a HoUywood night club, and in fact had done
nothing but work for Mr. Goldwyn since her arrival on these shores.
Came the night of the preview, cend VOs* Gurie was to mcrice her
grand entrance-^er first public appearance. Crowds waited, but
nodiing happened. Mss G. was home with a cold.
There's talk around that Mr. and Mrs. Walter Withers, Jane's
parents, want to adopt two children. Reason is that Jane has a
tremendous number of pets around the house on which she has
lavished much attention and considerable expense. Papa and
mamma feel that she'll soon outgrow them, and they thmk a
couple of youngsters might be very happy with them.
Nice Custom
Best Scene in a Current Picture: The moment when Marco Polo
(Gary Cooper) teaches flie Chinese princess (Sigrid Gurie) the western
world's favorite salute — a kiss. The princess, whose family has been
Gladys Swarthout and hubby, Frank
Chapman, ore east for opera dates
rubbing noses for centuries, is first astonished, then highly pleased,
with the new world's trick.
Next time you get a run m the chiffon n^^ber mnes gals,
think of poor old 20th Century-Fox. The studio paid out $2,200.
for runs during the filming of one picture-and ^r one player
The young lady was Sonj^enie. The opera length hose she
wore in "Happy Landing" cost $37. a pair, and she sometimes
went through six pairs m a day.
Music to Soothe
When AnnabeUa storied work on "The Baroness and the Butler,"
she wanted music on the set, so she bought a huge ™dio-phon<^
graph to soothe her between scenes. When the lecture finished, the
prop department asked her what she intended to do about moving
fhe thinV^Soid Annabella: 'Tm finished with it. Give it to the
crew " So the boys drew lots, and a guy named Brownie now nas
a radio-phonograph to get him in the n«ood for scene shUting.
(Continued on page 90)
^\.. but what IS this difference you no+ice
be+ween Camels and other Cigaref+es ?
...Kathleen Williams asks Alma Nicoll,
debutante daughter of De Lancey Nicoll, Jr.,
of New York and Middleburg, Virginia.
And here is Miss Ni coil's answer:
"Do I find Camels different from other cigarettes? Yes, def-
initely! For instance, after hours in the saddle, I'm quite weary.
Smoking Camels gives me a delightful 'lift'! And Camels
never jangle my nerves — another way they are different! I
smoke as many Camels as I please... and they never tire my
taste. Camels are mild... gentle on my throat. And so you
see, in so many ways. Camels agree with me."
It is not surprising that smokers are so enthusiastic about
Camels. Camel spends millions more, year after year, to assure
a finer, more delicate quality for Camel smokers.
THE Nicoll family have occupied positions of prominence
here since Matthias Nicoll crossed to these shores in 1664.
Alma Nicoll (above, right) is a fine horsewoman, devoted to
the life of the Long Island and Virginia hunting country. She
has traveled in England, on the Continent, and in the Near
East. At right. Miss Nicoll poses before dining out. She is
typical of the younger crowd in her enthusiasm for Camels. "At
all the parties," she says, "I notice that Camels are served.
Between courses. .. and, of course, after dessert, I smoke Camels
— 'for digestion's sake!' Camels add to mealtime pleasure."
If*
IN
ONE SMOKER
TELLS ANOTHER.
Among the many distinguished women
who find Camels mild and refreshing:
Mrs. Nicholas Biddle, Philadelphia . Mrs. Powell Cabot,
Boston • Mrs. Thomas M. Carnegie, Jr., Neiv York • Mrs.
J. Gardner Coolidge 2nd, Boston • Mrs. Anlhony J. Drexel 3rd,
Philadelphia • Mrs. Chiswell Dabney Langhorne, Virginia
Mrs. Nicholas G. Penniman HI. Baltimore • Mrs. John W.
Rockefeller, Jr., New York . Mrs. Rufus Paine Spalding III,
Pasadena • Mrs. Louis Swift, Jr., Chicago • Mrs. Barclay
Warburton, Jr. ^ Philadelphia • Mrs. Howard F'. Whitney, i\eic yorft
Conyritrht. 1938. R. .1. Reynolds Tobacco Co. , Winaton-Snlo
MODERN SCREEN
"IT'S WONDERFUL TO HAVE such
a grand nourishing cream and
cleansing cream in one. Pond's
new Cold Cream does so much
more for my skin."
Mrs. a. J. Drexel, III
Today— more and more
women are using this
new cream with
'Skin-'Wtamin'
THE first announcement of Pond's "skin-vitamin" Cold
Cream brought almost immediate response. Hundreds of
women tried the new cream.
And steadily your demand has increased for this new cream
that brings to women such important new aid to skin beauty.
For years, leading doctors have known how this "skin-
vitamin" heals skin faster when applied to wounds or burns.
And also how skin may grow rough and subject to infections
when there is not enough of this "skin-vitamin" in the diet!
Then we tested it in Pond's Creams! In animal tests, skin
that had been rough, dry because of "skin-vitamin" deficiency
in diet became smooth and supple again — in only 3 weeks!
Use this new cream in your regular way for cleansing and
before make-up. Pat it in. Soon you, too, will be agreeing that
the use of the new "skin-vitamin" cream does bring to your
skin something active and essential to its health — gives it a
livelier, more glowing look! r-nV
Same jars, same labels, same price fH^
Now every jar of Pond's Cold Cream you buy contains this aAA^
new cream with "skin-vitamin" in it. You will find it in the CR^^
same jars, with the same labels, at the same price.
Tune in on "THOSE WE LOVE," Pond'i Program, Mondays, 8:30 P. M., N. Y. Time, N. B. C.
"SKIN YOUNGER . . . The new Pond's Cold Cream with
'skin-vitamin' has made my skin smoother and younger,
the colour fresher — within just a few weeks."
Lady Margaret Douglas-Home
TEST IT IN 9 TREATMENTS
I'ond's, Dept. 9JV1S-CS, Clinton, Conn. Rushspecial tube of Pond's
"skin-vitamin" Cold Cream, enough lor 9 Irculmenls with samples
of 2 other Pond's "skin-vilamin" Creams and 5 dilTereul shades of
Pond's Face Powder I enclose 10c to cover postage and packing.
Name
Street.
City_
_Slate
Copyright. 103 8, Pond's extract Company
77
MODERN SCREEN
Unguentine takes the fire out of
a burn and the burning pain out
of a cut; it relieves the itch-
ing of eczema . . . and pro-
vides lasting antiseptic
protection. It is the anti-
septic in soothing form.
Never, never be without
an adequate supply of Un-
guentine. Big tube 50^;
economical family size
jar, $1 , At drug stores.
1^ "Urn IT
^^^^ ^jSflSi^'"^
HIS LIFE'S EXCITING
(Continued from page 36)
consequent unhappiness of a child divided.
He tried to act eighteen when he was four-
teen— and succeeded almost too well. He
studied art in Paris, was broke and had a
beautiful, Left-Bankish time of it, acquiring
hollow cheeks and stoicism. He tried his
hand at writing, was published, and is still
writing.
When he wanted to go into pictures, and
did, his father "disinherited" him, but both
recovered. However, it was an experience.
For the past four years he has lived,
more or less continuously, in London. _ He
left London because he and his associates
in picture-making there did not agree. It
has been stated that he owned his produc-
ing company there. That, he tells me, is
not a fact. He also left London because
David Selznick paged him for the role of
Hentzau in Prisoner of Zenda. and Hentzau
would be irresistible to one who is by way
of being Hentzau's blood brother. And it
was.
In the London group of Forty, which is
the much more selective equivalent of New
York's one-time Four Hundred, the name
of Douglas Fairbanks, Jr. is listed.
He lived sleekly in London, _ in the
narrow, five-storied house in Mayfair which
overhangs Locks, the hatshop, the one-time
house of Nell Gwynn snuggling cosily in
his back garden, or in the more recent,
smart pent-house apartment, which he still
maintains. Or he can live, and has, when
low on funds, in a mews, finding his fun
poking about on the river, dining alone at
little marshy inns, dropping in on the
farmers for a talk and a pipe.
He numbers among his friends the dis-
tinguished in almost every station in life
. . . Clemence Dane, playwright and
novelist, Dr. Wellington Koo, Chinese Am-
bassador to France, Dr. Will Durant,
Charlie Chaplin and last, but Lordy, Lordy,
not least, the Duke of Kent! And, as a
friend of the Duke of Kent's he has, it_ is
said, met and mingled familiarly with
royalty, including the Duke of Windsor
and the surely immortal, however de-
servedly, Mrs. Simpson. He has had, he
admits, adventures which can _ only be
recorded when he is, probably, eighty-two.
Or when the other participants are all gone
beyond the sound and 'fury of this earth.
For the adventures have been political ad-
ventures and belong, not to him alone, but
to history. Nevertheless, he has had them
or witnessed them. And that_ he has had
them is a part of his provocativeness.
HE has been variously rumored as ro-
mancing with Marlene Dietrich ; more
recently Hollywood has had him "dating"
Norma Shearer, Katharine Hepburn, others.
Probably he has had these dates, why not?
Having seen Douglas in "Having Won-
derful Time," with Ginger _ Rogers,
having caught glimpses of him in action
for 'The Joy Of Loving," I can prophesy
that he will be one of the but really terrific
heart-throbs of our screen this year. I,
therefore, take pleasure in announcing to
you, his fans, who will be intensely inter-
ested that — he is not in love. He is not
only not in love but he is not, by his own
casual admission "going with" any particu-
lar lady. When I reminded him that the
column-chatterers have been "linking" him
he said, "They have to have something to
print. Obviously, romance-rumors make
the most fetching fillers. And they leave
me quite helpless, for, also obviously, a
gentleman cannot announce that he is not
in love with a lady, has no intentions, matri-
monial or otherwise."
He does, however, hope to marry again
some day. "I certainly have no objections
to marriage,'' he told me, "but not now."
He has leased a house on the beach,
quite near to his father. He keeps one
servant, drives his own car, entertains in-
formally, liking it when Ronald Colman
and Leslie Howard "drop down." He en-
joys parties when Cary Grant is among the
guests. They have a lot of fun together.
He goes to night clubs much less often than
he used to. He sees quite a lot of his father.
"Our relationship has never been that of
father and son, you know," Douglas told
me. "There has never been the adult,
paternal superiority of the parent on my
father's part, nor the father-what-is-beer
on mine. We're good friends. I would
seek his company if we were not any kin
at all. In a kind of similar dissimilar way
the characters we like to play on the screen
stem from the same root. My father's
"Zoro," "Thief of Bagdad" and the others
were thrilling fantasy. The characters I like
to play are more rooted in fact, or could
be fact."
The elder Fairbanks, I thought, swash-
buckled physically ; the younger Fairbanks
swashbuckles mentally.
"There are three reasons why I am glad
I was born in this age," he continued. "The
first is the telephone. I love to carry on
interminable debates with my friends,
righting the wrongs of the world. For me
to talk publicly about how I should like to
right the wrongs of the world would be,
in my position, as presumptuous as giving
advice on love. But I can, I do," laughed
Douglas, rather grimly, "drop seeds. The
second reason for my gratitude that the
year 1909 saw my birth, is the wireless.
I loathe to write letters, and never do.
Therefore, my social obligations are salved
by means of telegrams. The third object
of my gratitude is the speed of this age,
the fast trains, cars, planes. To lag in
anything is to lose interest."
Douglas was called then. "In the mean-
time," he said, "I work. And I take my
work seriously. I take everything I do
seriously."
Loretta Young's littlest sister,
grown up, renamed Ann Royal,
is playing her first role in
"Mad About Music." Time
marches on!
78
MODERN SCREEN
SPONSORS FOR LATE SPRING
"Wear it with wine, S^f^V'.
raspberry, pink, the new
smoky blues, brown,
green," she says
MORE urbane and sophisticated
than ever in her sensational
Late Spring collection, Mile. Alix,
noted Paris dressmaker, sponsors the
new Cutex HEATHER to wear with her
newest and most exciting creations.
Famed for her use of jersey — from
wool to chiffon — Alix is acknowl-
edged mistress of the new loose-flow-
ing line — the ultra-feminine effect.
HEATHER adapted
to her designing
She loves the new Cutex HEATHER,
says — "It is so subtle and feminine it
adapts itself beautifully to that soft,
loose look I've always been mad about.
And the hint of purple in it blends with
all the newest Spring colors."
Cutex HEATHER is a deep, smoky rose,
with a suggestion of purple that makes
it absolutely "right" with all the Spring
"rock-garden" colors — the lovely fresh
lavenders, blues and pinks, and yellows.
It dramatizes the soft new grays — blends
perfectly with the purples and rasp-
berries, brown and green.
Decide right now to look your most
Parisian this spring and summer in
Cutex HEATHER, sponsored by Alix!
And be glad that, like all Cutex shades,
Cutex HEATHER will never fade, chip or
peel. HEATHER goes on with the smooth-
ness of satin, yet wears "like iron." Ask
to see the complete range of stunning
new Cutex colors. Only 35ji a bottle!
Northam Warren • New York, Montreal, London, Paris
6 NEW SOFT SHADES TO CHOOSE FROM
HEATHER: A deep, smoky rose, with a hint
of purple. Grand with wine, gray, pink,
blues, brown, green.
LAUREL: Ashes of roses, a subtle grayed pink.
Lovely with Spring pastels, gray, beige.
CLOVER: Deep, winy red — goes beautifully
with everything except orange tones.
THISTLE: Rust and Rose have met and min-
gled. For gray, green, rust, brown.
TULIP: A fresh, true crimson. It goes per-
fectly with black, gray, blue, bright green,
fuchsia, yellow.
ROBIN RED: True red, subdued in intensity.
It really goes with everything.
Alto Rose, Old Rose, Rust, Natural, Colorless
and Burgundy ... 1 2 smart shades in all.
Northam Warren Corporation, Dept.8-M-5, 191 Hudson St.,
New York. (In Canada, P. O. Box 427, Montreal.)
I enclose 15^ to help cover postage and packing for
Cutex Set, including one shade of Cutex Liquid Polish.
(Check one shade desired.)
Clover □ Tulip □ Thistle □ Heather □ Laurel □
Name — — — —
Address-
City
Stale
79
MODERN SCREEN
9^ (MmdM mU'.
CALL IT OFF
MIDOL
jto^VlET THEM COME'
DO you still let pain take precedence to
pleasure certain days each month? If you
do, you should know doctors have dis-
covered severe or prolonged periodic func-
tional pain is not natural to most women
— and that thousands of women have dis-
covered it is not necessary. For unless there
is some organic disorder demanding a
physician's or surgeon's attention, Midol
helps most women who try it.
Why not give Midol a chance to help
you — to render dreaded days as care-
free as others? Midol is made for this
purpose. It acts quickly, and in all but
unusual instances brings relief. A few
Midol tablets should see you comfortably
through your worst day. Your druggist
has Midol in convenient purse-size tins.
ON THE COUNTER AT DRUGSTORES
MOVIE SCOREBOARD
Picture and Producer '^fT"'
Adventure's End (Universal) 2*
Adventurous Blonde (Warners) 1Vz-k
Alcalraz Island (Warners) IVi-k
All Baba Goes to Town (20th Cenlury-Fox) 3^
Annapolis Salute (RKO) 2*
Another Dawn (Warners) SVz*
*Arsene Lupin Returns (M-G-M) 2-*t
Artists and Models (Paramount) "i-k
The AwFul Truth (Columbia) 4-*:
Back in Circulation (Warners) I-k
Bad Guy (M-G-M) 2*
The Bad Man ol Brimstone (M-G-M) 21/2*
The Barrier (Paramount) 1-^
Beg, Borrow or Steal (M-G-M) 2V2*
Behind the Mike (Universal) 2y2*
Bis City (M-G-M) SVz*
Big Town Girl (20th Century-Fox) 2*
Blonde Trouble (Paramount) 2V2*
Blossoms on Broadway (Paramount) 11^
Boots and Saddles (Republic) SVi*
Boss of Lonely Valley (Universal) 2*
Breakfast for Two (RKO) 2*
A Bride for l-lenry (Monogram) \-k
The Bride Wore Red (M-G-M) 1 ★
Broadway Melody of 1938 (M-G-M) 3*
The Buccaneer (Paramount) "iVi-k
Bulldog Drummond at Bay (Republic) IVik
Bulldog Drummond Comes Back (Paramount) 1 -k
Bulldog Drummond's Revenge (Paramount) SVzk
Charlie Chan at Monte Carlo (20th Century-Fox). . 2-^^
Charlie Chan on Broadway (20lh Century-Fox).. 2-k
'Checkers (20lh Cenlury-Fox) 2*
Colorado Kid (Republic) 2*
Confession (Warners) 2-k
Conquest (M-G-M) 4k
Counsel for Crime (Columbia) 2-^
Courage of the West (Universal) IV2*
Crashing Hollywood (RKO) 2y2*
Criminals of the Air (Columbia) 2k
A Damsel in Distress (RKO) 3*
Dance, Charlie, Dance (Warners) 2-^
Danger — Love at Work (20th Century-Fox) 1 ★
Dangerously Yours (20th Century-Fox) 1 ^
Danger Patrol (RKO) 2*
Dark Journey (United Artists) 3-^r
Daughter of Shanghai (Paramount) 2V2^
Dead End (Samuel Goldwyn) 4k
Double Wedding (M-G-M) 2*
*Every Day's A Holiday (Paramount) 3^
'Everybody Sing (M-G-M) . BUr
Escape by Night (Republic) 'Wz'k
Ebb-Tide (Paramount) 3kc
52nd Street (Walter Wanger) 2*
Fight For Your Lady (RKO) 2*
The Firefly (M-G-M) 3*
First Lady (Warners) 3-*-
Fit for a King (RKO) 2*
Flight from Glory (RKO) 2*
Footloose Heiress (Warners) 1 ^
Forty-Five Fathers (20th Century-Fox) 2-A-
Forty Naughty Girls (RKO) 2*
Frame-Up (Columbia) ik
Th.' Game that Kills (Columbia) 2*
Gold Is Where You Find It (Warners) 2*
The Gold Racket (Grand National) 2*
The Goldwyn Follies (Samuel Goldwyn) 3-k
The Great Gar ck (Warners) 3-jlr
Happy Landing (20th Century-Fox) 3k
Headin' East (Columbia) 2^
Heidi (20th Century-Fox) 3*
Here's Flash Casey (Grand National) 2k
High Wide and Handsome (Paramount) 3V2*
Hitting a New High (RKO) 2*
Hold 'Em Navy (Paramount) 2^
Hollywood Hotel (Warner) 3*
Hot Water (20lh Century-Fox) Ik
Hurricane (Samuel Goldwyn) 3V2k
Idol of the Crowds (Universal) 2*
I'll Take Romance (Columbia) 3-k
I Met My Love Again (Walter Wanger) 3*
In Old Chicago (20lh Century-Fox) 3V2*
It Can't Last Forever (Columbia) 'IVzk
It Happened in Hollywood (Columbia) iVzk
It's All Yours (Columbia) 2*
It's Love I'm After (Warners) 4*
King Solomon's Mines (GB) 2k
Lady, Behave (Republic) 2k
The Lady Escapes (20th Century-Fox) ..tVik
*The Lady Fights Back (Universal) !★
Lancer Spy (20th Century-Fox) 2^
The Last Gangster (M-G-M) 3*
Life Begins in College (20th Century-Fox) 2*
Live, Love and Learn (M-G-M) 3 k
Look Out, Mr. Moto (20th Cenlury-Fox) 1*
The Life of Emile Zola (Warners) 4k
The Life of the Party (RKO) 1 ★
Last Horizon (Columbia) 4k
Love and Hisses (20th Century-Fox) 3-*-
Love Is on the Air (Warners) 2*
Picture and Producer General
Rating
Love Is A Headache (M-G-M) 2y2*
Love Takes Flight (Grand National) IVz^k
Love On A Budget (20th Century-Fox) 2*
Love on Toasl (Paramount) 2-k
Love Under Fire (20th Century-Fox) 2V2T<r
Madam X (M-G-M) IVa-*-
Make a Wish (RKO) 2V2*
Mannequin (M-G-M) 3-^
Man-Proof (M-G-M) 2V2*
Married Before Breakfast (M-G-M) 21/2 ★
Mayerling (Nero) 4Tlr
Merry-Go-Round of 1938 (Universal) 2-*-
Missing Witnesses (Warners) 2-k
Murder in Greenwich Village (Columbia) 1 k
Murder on Diamond Row (London Films) 2V2l^
Music for Madame (RKO) 2*
Navy Blue and Gold (M-G-M) 3*
New Faces of 1937 (RKO) 3*
Night Club Scandal (Paramount) 2-:^
Non-Stop New York (GB) 2-k
Nothing Sacred (Selznick-lnternational) 3-k
One Mile from Heaven (20th Century-Fox) ^V^k
On Again— Off Again (RKO) 1 ★
100 Men and a Girl (Universal) 4*
On Such a Night (Paramount) 1^
Over the Goal (Warners) 1 llr
Paid to Dance (Columbia) i-k
Paradise For Three (M-G-M) 2*
Partners in Crime (Paramount) i-k
*Penrod And His Twin Brother (Warners) 2*
The Perfect Specimen (Warners) 3^^
Prescription for Romance (Universal) 1^
Portia on Trial (Republic) 3-k
Prisoner of Zenda (Selznick-lnternational) 4-k
Reported Missing (Universal) 2-k
Renfrew of the Royal Mounted (Grand Nationdl) 2-^:
Rosalie (M-G-M) 3*
The Road Back (Universal) 3*
Roaring Timber (Columbia) 2k
San Quentin (Warners) 2V2*
Saturday's Heroes (RKO) 2^/2*
Sea Racketeers (Republic) IV2 Ik-
Second Honeymoon (20th Century-Fox) 2-k
She Asked for It (Paramount) 2-^
The Sheik Steps Out (Republic) 2*
Sh! The Octopus (Warners) 2-*-
She's Got Everything (RKO) 2*
She's No Lady (Paramount) Ilk-
Snow White and the 7 Dwarfs (Disney) 4k
Small Town Boy (Grand National) 2-k
Something to Sing About (Grand National) 2V2k
Sophie Lang Goes West (Paramount) 2y2^r
Souls at Sea (Paramount) 3-|lr
Spy Ring (Universal) 2-ylr
Stage Door (RKO) 4-*
Stand-in (Walter Wanger) 3-*-
Stella Dallas (Sam Goldwyn) 4^
Super Sleuth (RKO) 1*
Strangers on a Honeymoon (GB) 2-k
Submarine D-1 (Warners) 2-k
Swing It Sailor (Grand National) i k
Swing Your Lady (Warners) 2V2 -k
Tarzan's Revenge (20th Century-Fox) 1 Vz^
Tes Rides with the Boy Scouts (Grand National). . 2-^
Texas Trail (Paramount) 2-k
The Shadow (Columbia) 2-^^
There Goes The Groom (RKO) 2-k
That Certain Woman (Warners) 2k
They Won't Forget (Warners) 3*
Thin Ice (20th Century-Fox) 31/2 ★
Think Fast, Mr. Moto (20th Century-Fox) 2-*-
This Way, Please (Paramount) 1
Thoroughbreds Don't Cry (M-G-M) 21/2*
Thrill of a Lifetime (Paramount) Ik
Thunder Trail (Paramount) 2-^
Trapped by G-Men (Columbia) ■ -tVik
True Confession (Paramount) 4k
The Toast of New York (RKO) 3-k
Topper (Hal Roach) 3-k
Tovarieh (Warners) 3^
Under Suspicion (Columbio) 2-k
Varsity Show (Warners) 3-k
Victoria the Great (RKO) 4*
Vogues of 1938 (Walter Wanger) 3*
Wee Willie Winkle (20th Century-Fox) 4-*
Wells Fargo (Paramount) 3 Ik-
West of Shanghai (Warners) iVz-k
The Westland Case (Universal) 2*
White Bondage (Warners) 1 1k-
Wife, Doctor and Nurse (2Qth Century-Fox) 2V2-k
Wild and Woolly (20th Century-Fox) 2*
Wild Money (Paramount) 1 -jlr
Wine, Women and Horses (Warners) A-k
Wise Girl (RKO) 3-*
*A Yank at Oxford (M-G-M) 3*
You're A Sweetheart (20th Century-Fox) 2V2lk^
*You're Only Young Once (M-G-M) 2-yk-
You Can't Have Everything (20th Cenlury-Fox) 3-k
Turn to our Scoreboard when you're in doubt about -what movie to see. It's a valu-
able guide in choosing entertainment. Instead of giving the individual ratings of
Modern Screen and authorafive ne-wspaper movie critics all over the country, -we
have struck an average of their ratings. You'll find this average under General
Rating, beside each picture. 4-^', very good; 3-^:. good; 2-^. fair; l-^T. poor. Asterisk
denotes that only Modern Screen ratings are given on films not revie-wed by ne-ws-
papers as -we go to press.
DAINTINESS IS A
CHARM THAT
ALWAYS WINS. NO
SMART GIRL
NEGLECTS IT
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81
MODERN SCREEN
Y, ' "DON'T rush me,
woman! I'm in no party
mood — but I'll brighten up
in a hurry if you'll share
that package of Beeman's!
You know that flavor's a real
joy reviver. It's got a frisky
freshness, a tingly tang — in
short, it's great.
If you don't know, the pack-
age is sealed airtight to keep
all that luscious freshness
inside. I'll stop on the way.
We need a fresh package."
Beeman's
AIDS DIGESTION...
BLUFFS THAT WORKED
{Continued from page 49)
Metro-Goldwyn-Mayer. In another city,
she said Paramount had signed her. In
still a third city, she said she was under
contract to Universal.
The truth was that, although she had
been tested, no company had signed her.
But motion picture executives always
read such items carefully. They began to
ask, "Who is this Sonja Henie?"
The final stunt was pulled just before
Sonja reached the coast. At the Metro
publicity office, they received a telegram
ordering them to meet Sonja Henie with
photographers. "She is coming to work
for us," the telegram said.
Naturally they sent photographers, and
some of the photographs got into the news-
papers. By the time they discovered that
the telegram had not been authorized by
the New York office, Hollywood was be-
ginning to be Henie-conscious. Thus when
she staged her famous exhibition at the
Polar Ice Palace, executives from every
major company attended.
James Cagney once succeeded in bluffing
his own movie company. It was back in
1932, and Jimmy, engaged in one of his
periodic fights, was demanding more money.
The studio refused to consider giving
Jimmy any kind of a raise. Finally he
quit work.
"I don't have to remain an actor," he
said. "All my life I've been interested in
m.edicine. I'm going to study at Columbia
University, and give up my screen career
entirely. My wife approves of my plan."
If Jimmy had threatened to go to an-
other movie company and sell his services.
there were legal steps that might have
been taken. But if he was going to be-
come a doctor, no contract could stop him.
Of course the studio knew it might all
be a bluff, but on the other hand, if
Jimmy was not faking, they would lose
one of their most valuable properties. In
the end, Jimmy got pretty nearly every-
thing for which he asked.
After he and Warners' had patched up
their difficulties, reporters asked him if he
had really been serious about his plan to
become a physician. Jimmy grinned.
"No," he said, "that was just a gag."
While Nelson Eddy has never had to
blufif in his motion picture career, he fibbed |
about his experience when he was trying
to get a job on a newspaper in Philadel- I
phia. Before he went to see the editors j
he had never written a line. But he per- [
suaded them to give him a job in the ad-
vertising department by saying that he was
an advertising man. From that he ad-
vanced to reporter, to rewrite man and
finally to the copy desk by pretending that
he could do all these things, then taking
the time to learn how in order to back
up his bluff.
Necessity is the mother of most hoaxes, f
and that was the case with. W. C. Fields.
Shortly after the Spanish American War,
he was forced to accept a vaudeville en-
gagement in Spain, and due to the resent-
ment toward Americans at that time, he
was billed as an Englishman. Since he
was doing a pantomime act, it was not
necessary for him to speak on the stage.
For about three months he was successful
Tyrone Power and Joseph Schildkraut look with equal admiration
on Norma Shearer's get-up as "Marie Antoinette."
82
I,
,1
thing to Akim Tamiroff in her
native Chinese — but it's still her
secret.
at this bluff until he gave vent to some
typical Fieldsian dialogue backstage, was
overheard by a Spaniard and was fired.
EARLY IN her career Ginger Rogers
tried a bluff that definitely did not
work. While she was in New York, play-
ing a leading role in "Girl Crazy," she
was also making films for an eastern mo-
tion picture studio. Hoping that she could
persuade the motion picture executives to
give her more money and better roles in
pictures, she stalked up to an executive
of the company, said she wasn't getting
as much money from the studio as she
was from the musical comedy contract,
and demanded her release. To her amaze-
ment, the ofiicial gave her the release.
"That incident taught me a lesson," Gin-
ger said, laughing, "about the -technique of
a bluff."
The most successful practical joke Gin-
ger ever tried was the famous "Lady
Ainsley" hoax, perpetrated at the time
when Producer Pandro Berman was hav-
ing great difficulty finding the right actress
to play Elizabeth in "Mary of Scotland."
One day Director John Ford, who was
in on the hoax, said to Producer Pan Ber-
man, "Fve just heard that Lady Ainsley,
the famous English actress, is in town.
She has played Elizabeth hundreds of
times on the stage — in fact, she's a direct
descendant of the Queen. Why don't you
get her to take a test?"
Pan Berman authorized a test of Lady
Ainsley.
A few days later, when he saw the test,
be was electrified. The girl who appeared
as Queen Elizabeth, her hair piled high
on her head, her face vicious with cruelty
and lust for power, was just the actress he
had been searching for.
"Send for her," he said. "She's marvel-
ous !"
Director Ford shrugged his shoulders
and intimated that there might be difficul-
ties. Lady Ainsley was just like Kathar-
ine Cornell in her aversion toward making
pictures.
For a week, Berman frantically sought
to contact I..ady Ainsley. Then one day a
newspaper item rejKirted, "What red-
haired star is playing a gigantic practical
joke on what producer by posing as a
great foreign actress who doesn't exist?"
Berman got the point at once. But
though Ginger's bluff was called, she had
attained her secret objective. For a long
time she had been trying to persuade her
studio that she could play dramatic roles.
It took the great Lady Ainsley hoax to
make her company realize that Ginger was
more than just a foil for Fred Astaire.
MODERN SCREEN
Somebody's coming with a bowl and
a spoon. Jerry knows what that
means — he's been having Clapp's
Baby Cereal for a month. He's one
of the small citizens of a New Jer-
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pictures and growth records to a
study of infant feeding. Clapp's
Strained Vegetables will go on his
diet list soon.
Jerry's mother doesn't have a wor-
ry except that his blond hair won't
lie down. For he's growing steadily
and putting on some good solid
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Jerry has been having Clapp's
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83
MODERN SCREEN
How to be a
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and your Husband's
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STRANGER THAN FICTION
{Continued from page 47)
the unsuspecting Alan and said, "You !
Come in here!" Alan, perplexed, went in.
The producer asked him what he had
"done." Alan said, with emphasis, "Plenty."
The producer said, "And just what parts
have you played?'' "Blimey," thought
Alan, "he takes me for an actor!" Alan
thought then, amused, but always quick
on the uptake, of parts he had seen on the
stage and thought he might have been able
to do. He named three or four of them,
with glib assurance. The producer looked
skeptical but needed a man of Alan's type
and hired him !
When the friend arrived Alan was await-
ing him outside in the rain. "Why didn't
you go in out of the 'rain?" asked the
friend. "Oh," said Alan easily, "I went
inside!" Then he told what had happened.
The friend staggered momentarily and
said, "That's the billet / was after !" Alan
offered to go back and fix things but the
friend would have none of it. "You go
ahead and do it," he said sincerely.
THE play was "The Cinderella Man."
Alan, in the lead role, toured Eng-
land with the third company. He just
memorized his lines and spoke them, he
says, nothing more. He hadn't the fog-
giest notion how to act. At the end of
their first performance at some English
watering place, the cast, as is customary,
went to a pub to celebrate. Alan, still in
funds, ordered brandies and sodas. The
rest of the company ordered beers.
They cast wistful eyes at Alan's luxury.
He invited them to join him and stood
treat to brandies and sodas. In return for
his hospitality they broke the ice and told
him he had given the worst performance
they had ever seen in all their years of
trouping. It was not, they said, humanly
possible to act worse than he did. His per-
formance, they elaborated, had left them
stunned. They offered to teach him how to
act. They did. They taught him how to
use his hands, gesture, raise his eye-brows,
modulate his voice. They also taught him
what they called, "The dirty business of
acting." They invented bits of business for
their own parts which were calculated to
kill his eft'ects. He, in turn, thought up bits
of business that would kill their effects.
This game was the making of an actor.
In 1923 he came to America. No work.
Money dwindled, and then was' not. That
was the four month period which Alan
Mowbray spent sleeping on a bench in
Central Park.
Sitting, the other day, in his cedar-
panelled library in Beverly Hills, comfort-
able in deep red leather chairs, the red-
hearted fire roaring on the hearth, his small
daughter twined about him, Alan said,
briefly, "I learned a lot. Makeshifts. De-
vices. I didn't have a nickel. Not one.
Now and again I'd meet a friend and pull
the well known, 'Say, old man, I want to
phone. Lend me a nickel, will you? No
change, y'know.' I learned how to eat with-
out a nickel. I'd go, for instance, to the
Automat in New York. No one pays much
attention to you in the Automat. I found
that customers always got two rolls and a
pat of butter with their dinners and that,
in nine cases out of ten, they only ate one
of the two rolls. It was a simple matter to
wander about and with fair surreptitious-
ness to slip a couple of rolls into iny pocket.
There was always a tomato catsup bottle
handy. Water was free. I'd take a catsup
bottle, pour a little catsup into a paper
cup of water, and there I'd be — with a
reasonably decent cup of tomato soup and
a roll!
"Now and again I'd run into an old
friend and be invited to a cocktail party
or something. I managed to maintain a
fairly well groomed appearance. I had a
friend who had an office down town. He
never got to his office until late. I'd get
there early. I'd use his razor, have a wash,
comb my hair. I'd also rinse out my 'other
shirt' and dangle it over the window ledge
to dry. And there I'd be. I'd go to the
party. They were, unfortunately, those
parties rather short on eats and long on
drinks. I didn't dare take anything to
drink on my empty stomach. But I'd go
and, on more than one occasion, a swank
limousine would drop me at the gates of
Central Park. I'd say, breezily, that I al-
ways liked 'a turn in the Park before turn-
WHILE I was 'in residence' in the Park
I had another study in irony, my por-
trait painted ! My friend, the Countess
Wenner, did it. When it was eventually
hung, it hung between the portraits of two
ex-kings ! The Countess never suspected my
predicament. She also did a portrait of my
dog. Pal. Pal shared all of the vicissitudes
of my life with me. It was while I was in
New York that I - wrote 'Dinner Is
Served.' I wrote it to keep myself awake
until it was time to go around to the Hip-
podrome Grill where I collected meat
scraps for my dog. We shared those meat
scraps. Pal and I. That is his portrait over
the fire there. He died a year and a half
ago, out here." "And when he died," small
"P.M." chimed in, "Daddy started to
cry. ..." Alan, unashamed, did not deny
it.
"I had a couple of adventures," Alan
went on. "One night it was raining. I
was sitting under a heavy tree. You ac-
quire a fine flair for self protection when
you are without protection of any kind. As
I sat there an ancient crone came and hud-
dled there by me. She was the type you
read about. She rather resembled May
Robson in an Apple Annie make-up. She
peered at me, without interest, and said,
'Life's lousy, ain't it, young man?' I said,
'For some of us, yes.' You can't lie to a
soul like that. They are too near the ter-
rible truth of some things. I didn't ask
her to 'tell me her story.' I didn't need to.
She didn't ask me mine. She didn't need
to. God knows, she had rubbed elbows
with down-and-outers these many years, no
doubt.
"One night a tough looking chap sat
down beside me. He began to talk to me,
without glancing at me, without moving
his mouth at all. He said, 'Better scram.
They're after j'ou. If you don't scram now
you won't live to regret it.' I answered,
also without moving my mouth, 'What
would anyone be after me for, in God's
name?' He said, 'You look pretty nippy.
They think you've got something. They've
got a rod!' I said, 'Then they're wrong. I
haven't got a sou in the world nor a meal
in my belly. Let 'em try it!' I was sore
and bitter and discouraged. The one thing
I couldn't do was run. The rod was pushed
into me. I hauled oft' and let the bloke
have it. I knocked him cold, took his rod
away from him and beat it. There it is
up there, a little old '22, the only fire-arm
I've ever owned since I came out of the
War.
"Of the friends I ran into dui-ing those
four months, not one ever suspected my
plight. They never have. I've never told
84
MODERN SCREEN
this part of my life before. They will learn
it now, if they read this, for the first time.
"At the end of the four months, and
pretty near at the end of me, I guess, I got
a job with the Boston Repertory Theatre.
"They advanced me some money and I
took the train for Boston. En route I or-
dered steak and potatoes and onions and
cofifee and pie. When I arrived in Boston
I was carried off the train. They called a
Cctor and he said to me, 'What's the mat-
'ter with you? What have you been doing
.0 yourself?' 'Nothing,' I said. 'Come, let's
have the truth,' he ordered, 'you're starved,
aren't you?' I admitted the diagnosis then
and he told me that I had just about com-
mitted suicide. My stomach had shrunk
to the size of a walnut. I should have had
a couple of pellets of bread soaked in con-
somme and very few of those ! The steak
and fixin's about fixed me.
"After that, things went all right. 'The
Amorous Antic' was my first Broadway
show, with Phoebe Foster and Frank Mor-
gan. I toured with the Theatre Guild in
'The Apple Cart,' 'The Doctor's Dilem-
ma' and 'The Second Man.'
"I came to Hollywood in Shaw's 'The
Apple Cart,' which was, by the way, _ so
similar in theme to the Simpson-ex-King
case as to be a deft prophesy of things to
come. I played the King of England in the
stage play and then went to the part of
George Washington in 'Alexander Hamil-
ton,' the film starring George Arliss. From
the King of England to the first President
of the United States was what might be
termed a political manoeuver without
precedent.
"And I like Hollywood. It satisfies me,
thus far. When the children are grown I
may shy off and try something else, far
afield. I have the usual actor's ambition
to direct one of these days. It's been said
so often I hate to say it, but there it is.
They used to say that at Shepherd's Hotel
in Cairo you could meet the whole world.
Now that is true of only one place, Holly-
wood. It's exciting here because exciting
people come here. The work is fun. The
money is fun. I have my wife and home
and youngsters. They're fun, too.
"My experiences," said Alan Mowbray,
"have taught me one thing. It's this : I
look at a mountain as a mountain and at a
molehill as a molehill."
And these, I think, are about the wisest
words I have ever heard. From about the
wisest man I've ever met. A man who can
mix the incredible ingredients of life with
the mixing spoon of tolerance ; who can
give an epitaph in one breath and sing a
bawdy ditty in the next. I give you Alan
Mowbray.
Poi^a Allan Jones even passed
the cigars out in the stable when
his son and heir was bom.
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85
MODERN SCREEN
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I □ Flesh □ Rachel □ Rose Rachel |
I □ Rachel No. 2 □ Brunette |
I Name |
I Sl.&No _.. __. I
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86
BETWEEN YOU
$5.00 Prize Letter
Always a Playboy?
It was with considerable irritation that
I listened to Jimmy Fidler holding forth
the other night on Montgomery's grave
error in playing in "Night Must Fall." It
seems that a dear old lady wrote and said
she felt just as if a member of her own
family had taken to crime.
Mr. Fidler feels that an actor should
stick to his type. The fact that an actor
who sticks to his type is not an actor,
seems to have escaped him. Why should
Robert Montgomery continue to play in
one idiotic picture after another, simply
because he was cast in them in the first
place ?
Fredric March has played in comedy, in
tragedy, even appeared as Mr. Hyde, and
no one complained. Spencer Tracy plays
an endless variety of roles, and no one is
disappointed. Why, then, should Robert
Montgomery, who has proved himself the
equal of either, be doomed to an infinity of
bedroom farces ?
Who can deny that Charlie Ruggles' part
of the reporter in "Exclusive" is miles
above anything else he has done? Must
we see him in nutty comedy for the rest of
his career because he started as a nuttv
comedian ?
I'm quite sure that for every old lady
who has deserted him, Robert Montgomery
has two astounded and admiring followers.
— Mrs. N. H. Stratten, Winnipeg, Can.
$2.00 Prize Poem
Ode To The Villain
Some of my pals pray for Gable,
And some for a man like Tyrone.
But I'll take the villains just any old day,
And let all the heroes alone.
When six-shooters barked and the bandits
Were robbing the pony express,
And they wanted a blackguard to handle
the job —
Could Lloyd Nolan do it ? Why, yes !
If it's dashing and swashbuckling sword
play,
There must be a dastardly foe.
Give me Doug as a gay and adventurous
rogue,
(That would be Fairbanks, Jr. you know.)
If it's suave and sophisticate villainy
That's my fancy in crime for the nonce,
Basil Rathbone I'll try as a slithering spy,
He tops 'em in cool nonchalance.
There are others I really should mention —
Alan Baxter, his gang and a gat ;
Raymond Massey, that sneering and sinister
plotter.
And several others like that.
It's agreed that all pictures have villains,
And I like 'em, so what can I lose?
Rest assured, oh you rascally actors, from
me
You'll get bouquets of orchids, not boos.
—Betty D. Frye, Santa .\na, Cal.
Her friends pray for Tyrone
and Gable, but one gal prefers
the good old-fashioned villain
any day.
$2.00 Prize Letter
Candid Shots
Call it "high treason," hang me for a
traitor, but I must, I simply must know the
why and wherefore, thusly :
Why do the stars who are so widely
bally-hooed as gorgeous, glamorous, ro-
mantic, and super-marvelous consent to
pose for informal shots, on the set, at a
preview, at a racetrack, restaurant, or
party? Such pictures always have a way
of appearing in all the fan magazines, and
greatly disillusion the dear public who were
justly led to believe all is as appears in
the silver flickers.
For illustration, we have Carole Lom-
bard (very_ "high treason," this) in an off
shot, looking anything but glamorous,
rather skinny and colorless, not at all
La Lombard of our fond dreams; Kay
Francis, in an unguarded moment, looking
all of at least forty years old, plus one dou-
ble chin ; Robert Taylor, a very much un-
shaven young man (perhaps he's just
growing said stubble for his next picture,
eh?), not at all romantic; not to mention
his constant gal friend, Barbara Stanwj^k,
looking for all the world like a slightly
dowdy school marm ; Claudette Colbert, oh,
so peaked looking, a small pinched smile
on her face, not the pert, comely Claudette
of "I Met Him in Paris."
Oh, I could go on and on. Really, the
only one I recognize at all is good old
homely Spencer Tracy — he at least looks
the same in any language. — Mrs. Elizabeth
Miller, Rochester, N. Y.
$1.00 Prize Letter
A la Natural
Now I'jn not one of these sticklers for
reality so don't get me wrong. I'm a dizzy
young thing, chock full of romantic notions,
and nothing thrills me so much as a shiek
making violent love to a divinely beautiful
maiden in the heart of the desert to the
accompaniment of dreamy music. But, I
say, give us more girls like Carole Lom-
bard who seeminglv doesn't give a darn
MODERN SCREEN
'N'
E
TRY YODR LUCK AT WINNING II CASH PRIZE. WHAT DO YOU
HAVE TO SAY ABOUT THE STARS AND THE MOVIES YOD SEE?
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too, that your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; two
second prizes of $2 each; six
prizes of $1 each. Address:
Between You 'n' Me, 149 Madi-
son Ave., New York, New York.
Another fan resents the candid
camera, whose relentless
frankness catches the stars in
unflattering poses.
how she looks but instead concentrates on
giving us entertainment witli a capital E.
You've succeeded, Carole, and how.
Take Susie Glutz, for example. She goes
to bed and tosses and tumbles half the night
worrying over the unpaid mortgage, but the
next morning up she jumps bright as a
dewdrop, hair beautifully coiffured and not
a wrinkle in her satin pajamas. Now I ask
you is that natural? Of course not, and it
simply spoils the picture for me. No one
is beautiful all the time and when the star
is rumpled and mussed, even as you and
I, she seems more warm and human. The
picture becomes a reality. We really live it,
instead of feeling that it's "just another
picture."
Bouquets to Carole Lombard for her
naturalness. Ditto for Ann Sothern and
Sylvia Sidney. — Peggy Ruff, Henderson-
ville, N. C.
$1.00 Prize Letter
Stars" as People
According to a recent report made by a
Hollywood commentator, the movie exe-
cutives and directors have put a ban on all
publicity dealing with the home life of
movie stars.
All I can say is that said executives and
directors certainly must underrate the in-
telligence of the average theatre-goer. A
person who is ballyhooed as a lover of
everything except a home and family is
soon looked upon as a freak.
The lives of glamor girls and matinee
idols hardly belong to themselves. They
must have publicity to help their star to
soar — in fact, to earn a living. Why not,
then, have the simple stories that tell of
{Continued on page 108)
WHAT'S BECOME OT
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87
MODERN SCREEN
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{Continued from page 45)
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be," she snapped. "After all, if chance cir-
cumstances hadn't taken me away from
Fargo eight years ago, that's exactly the
life I'd be leading. Yes, and I'd be darned
happy in it, too. As it is, I'm more than a
little homesick for it all."
"One of Hollywood's chief glamor girls
homesick for the prairie? Don't be sdly !
Besides, you never would have stayed there
with your ambitions !"
It was not her ambitions that took her
away from Fargo in the first place, Vir-
ginia insisted. She did not have any at that
time, at least not for the stage or screen
They would not even let her play in the
high school dramatic productions, so little
did they think of her talents, if any, and_
she thought less. It was simply a case of
the family moving, and daughter Virginia
with it. The picture career was accidental,
something that just happened.
Virginia, then Virginia Briggs, the most
beautiful girl in town, was an eighteen
year old graduate of Fargo High School
when that well-known depression caught
up with -her father. Earl F. Briggs, a
prominent insurance broker. Not that the
family finances were pinched; just that
California seemed a better field for his
business. And so they moved, bag and bag-
gage, to Los Angeles where Virginia was
to enter the University of California at Los
Angeles. That was before the school
moved to its present elaborate site in West-
wood.
She had matriculated, in fact, and was
being given a flattering rush by campus
sororities when the new world of the screen
opened up. Director Harry Beaudine hap-
pened to see her on the street, asked her if
she worked in pictures. No. Did she want
to? Maybe. The upshot was she signed a
personal contract with him at $25_ a week.
Her first role was as an extra in a pic-
ture starring Madge Bellamy. Virginia re-
members meeting another blonde extra in
that picture. Her name was Jean Harlow.
After that, came a bit part in a Helen
Twelvetrees story, and then Paramount, at
Beaudine's urging, gave her a singing test.
Result, a contract and $75 a week, of
which she received one third. She played
a lady-in-waiting in Chevalier's "The
Love Parade." But chiefly, she says, she
was waiting for that $25 a week contract
to expire !
MEANTIME, John Harkrider was
scouting for beauties for Sam Gold-
wyn's "Whoopee" with Eddie Cantor. He
was scenic designer for Ziegfeld and was
on loan to Goldwyn. He considers Virginia
the loveliest of all the girls he signed for
the picture.
When she was free to make a new con-
tract, Harkrider was back in New York.
Virginia wrote him, received a bid, at $90
a week, to be a Ziegfeld beauty in "Smiles"
on Broadway, neatly reversing the Broad-
way to Hollywood custom. After two
shows in New York, she returned to
Hollywood and her present M-G-M con-
tract which has built her from^ compara-
tive obscurity to starring material.
In 1932 she married the late John Gil-
bert, divorcing him two years later after
the birth of her daughter, Susan Ann.
Time passed and Virginia's career con-
tinued to skyrocket. Susan Ann grew from
a chubby infant into a charming little girl
and m0vie goers became increasingly con-
scious of the golden beauty which was Vir-
ginia's. During those years she went about,
of course, but her name was never linked
seriously with any man's.
Then came "Bad Alan of Brimstone." J.
Walter Ruben was assigned to direct this
opus and Virginia got the feminine lead.
She'd known Ruben for a number of years
— casually. They'd been to some of the
same parties, had seen each other in night
clubs, had danced together and talked
about the weather and the picture business.
Working together did something to both
of them. Casual acquaintanceship ripened
into friendship which, in turn, became a
great deal more. Thus it was that love
came a second time to Virgipia Bruce.
You read about her marriage to Ruben. It
was one of the most beautiful ceremonies
Hollywood has ever witnessed, with little
Susan Ann serving as flower girl. It is a
marriage based on the sound foundation of
mutual respect and friendship as well as
mutual affection. It is a marriage which
means complete happiness to Virginia.
But it is a difTerent sort of happiness
from that which she knew back in the small
town of her birth. And she is well aware
of that difference.
"You said something about life in Fargo
being amusing," Virginia went on. "It
would have been for me, but not in the
patronizing way you implied. Rather, it
would have been fun. Here's why. Here's
what would have happened to me if I had
stayed there.
TO begin with, I probably would have
married, after a year or so at the uni-
versity," Virginia picked up the story. "His
name probably would have been John. My
beaus always seemed to have that name,
which simplified things in one way. He
might have worked in a bank and by this
time might be a junior vice-president get-
ting a salary — and quite a handsome one,
too, of about $300 a month.
A dark horse in the race for the
part of the sister in "Holiday,"
Doris Nolan got the job.
Forhan's VsU
ClfM/S TEBTH-AIDS GUMS
MODERN SCREEN
"Before I married, in church with white
satin, veil, and all the trimmings, I would
have been guest of honor at all sorts of
hen parties. Kitchen showers, handker-
chief showers, odds and ends showers. My
engagement would have been announced
at a tea.
"After a honeymoon, probably in the
Twin Cities (Minneapolis and St. Paul)
or Chicago, we would have taken a house
on Eighth or Ninth Street, buying it on
time, it probably would have been of red
brick and not very handsome, architectur-
ally speaking, but sturdily built to keep
out the winter cold. Two-story, it might
have had seven or eight rooms, a good
sized yard, flowers, shrubs and vines on
the house. And most certainly it would
have had sliding doors on the garage in
back.
"In the basement would be a large_ cool
room called the fruit cellar, where jams,
preserves, apples and potatoes were stored.
The laundry might have been in the base-
ment or on the back porch and the clothes-
line would be strung between two wooden
poles just close enough to the garage to get
the clothes dirty if a stiff breeze came up !
John would keep promising to move them
and never get around to it. So much for
the house.
"We would have had what we call 'the
girl.' Her duties encompass averything
from cooking, housework and laundry to
helping look after the children, and it
would never enter her head to expect other-
wise. She'd live in the house with us, of
course, and her salary would be around
twenty-five dollars a month. She could
bake marvelous cakes and her chocolate
icing would be divine.
"The week would be blocked out and it
would take a major catastrophe to deviate
from washing on Monday, ironing on
Tuesday, mending on Wednesday, day off
on Thursday, cleaning on Friday and bak-
ing on Saturday.
"Week days John would come home for
lunch at 12 :30 and dinner would be at 6 :30.
On Sundays dinner would be at 2 o'clock
with a roast large enough so Monday's
dinner could come out of it, potatoes, two
vegetables, a salad and cake. Sunday
evenings we'd fix a snack in the kitchen.
"We probably would have three child-
ren, one boy named after John's father, one
after mine, and a girl whose name would
be wholly of my own choosing. They'd
have the usual childhood diseases but the
family doctor could handle everything
nicely. If it was contagious, the children
not affected probably would be sent to
their grandmother's to stay until the quar-
antine was lifted.
"John would be at business all day, so I
would find ways to occupy my time. Since
I can play the piano fairly well, I would
have joined the Fine Arts Club and ac-
companied the soloists. Occasionally I
might be asked for a vocal solo myself.
"I would have joined the Women's Club
and given papers on current topics when
my turn came around. I would have been
on committees to sell tickets to lectures
by visiting notables. I would have made it
a point to develop such small talents as I
had for drawing, painting and singing. As
it is, my singing is the only thing I've had
time to cultivate.
I WOULD have belonged to a foursome
or an eightsome which met once a week
at our respective homes for bridge in the
afternoon, and I'd have racked my brain,
every time it was my turn, to figure out
something novel to serve for refreshments
that were limited to two dishes. We prob-
ably would have played for a quarter on
the corner, and my winnings would go in
a cloisonne box on my dresser for John's
Christmas present.
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89
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"I would have bought matched can-
isters, or embroidered kitchen towels to
take to kitchen showers for other brides ;
and found time to knit a darling sweater
or bind a blanket in satin for a baby
shower.
"A couple of times a week I might have
gone to a matinee movie with my closest
girl friend, stopping for a hot fudge sundae
afterwards. Clark Gable and Bob Taylor
would have thrilled us.
"As far as that goes, the movies would
have been our chief diversion in the eve-
ning. After the children were put to bed,
with 'the girl' left to keep an eye on them,
we'd get in the family car (a standard
make sedan in the medium price range)
and John would drive us to the theatre.
If we couldn't find parking space within
a few doors, he'd grumble. If a Myrna
Loy picture was playing, we'd see it, at
John's suggestion, on the opening night.
"Once in awhile we'd play chess at home
and raid the ice box for a glass of milk
and some sugar cookies before bed. Other
nights Joe and Mary Louise would come
over for bridge and we'd have a few high-
balls during the evening. Every so often
there would come one of those nights when
John or Joe would insist on mixing some
newfangled drink they'd heard about. Usu-
ally we'd decide it wasn't much good.
"John's boss and his wife would come for
dinner on special occasions and I'd pretend
it was nothing to get excited about. But
I'd plan the menu for days, get my best
monogrammed linen out of its sheafs of
blue tissue paper, use my sterling given us
for a wedding present by John's parents,
and spend an hour arranging the flowers.
"We'd join the B. and B. and have a
grand time at the two parties a year it
gives. ' If possible, we'd budget a new
evening dress for me for each party. I'd
put the studs and such in John's shirt arid
help him tie his tie. We'd probably join
the Century Club, too. That's another
social club.
"Two or three times a year we might go
to Minneapolis for the week-end, crowding
it with shows, night clubs and hurried
shopping.
"On Sunday we'd play tennis, ride horse-
back, shoot a game of golf or take the
children to the farm of a relative for the
day. Each summer we'd take a cottage
at Pettibone Lodge at the lakes at Shore-
ham, Minn.
"As for clothes, I'd have the two new
evening dresses, skirts and sweaters, a nice
tailored suit, a couple of informal after-
noon dresses, a dinner dress and maybe a
tea dress. Mornings I would wear cute
ginghams. About every five years I'd have
a new fur coat, probably pony skin or cara-
cul, or maybe even squirrel.
"Well, there it is. The girl I would
have been, the life I would have lived if I
had stayed in Fargo. Amusing? What
have I got in Hollywood? A successful
director-husband, about eight or ten new
evening dresses a year, a house with seven
bedrooms and five baths, and four servants.
I go to movies, play tennis, dress up for
dances. I don't have the time I want with
Susan Ann; I'm missing half the fun of
her growing up because I have to be at the
studio during the day.
"I have fame and more money? Granted.
But I also have all the nagging worries,
the troubles, the twenty-four-hour-a-day
fight to keep what I've won !
"Boil it all down to relative values. Then
tell me if I'm winner or loser. Show me
where I'm any happier than I would have
been in Fargo !"
GOOD NEWS
(Continued from page 74)
Short Story
Six months ago a prominent film star
and a handsome leading man were in the
middle of a colossal and terrific romance.
She sent him a gift, on which was engraved
a history of their dates together. Later, the
young man shifted to another gal. After
a few months he sent her a very novel gift
which pleased her immensely, because on it
was engraved the history of their dates to-
gether.
Extra ! Bob Taylor goes to a night club
alone! The event, which should have been
recorded for posterity like the footprints at
Grauman's Chinese, occurred two nights be-
fore Mr. T. made an appearance on the
Jack Benny radio show. The unglamorous
facts are that he rehearsed late, and dropped
in at Ray Haller's for a night cap before
going home. And he went home alone, so
it's hardly an item.
Count Sheep
The other day we asked Margot Grahame
who should be an expert on the subject —
for advite on the care and maintenance of
a good figure. There was nothing personal
Jn the question, for our own figure is per-
fect, but we thought her words might be
something every young girl should know.
Said Margot: "Don't exercise at all. I never
touch the stuff. Sleep till noon when you
can, and when you can't, see that you
get to bed early the night before." End of
quotation.
Hearts and Flowers dept. : Most consistent
romance in town is that of Tyrone Power
and Janet Gaynor. He's her steady fella.
The Taylor- Stanwyck alliance remains un-
changed. You can see her almost every
Wednesday evening, sitting in the back of
a darkened theatre, watching him rehearse
his radio show. Newest romance has Jon
Hall and Frances Langford sharing the
billing. They've sneak-previewed it at sev-
eral local night spots, and the reviewers
are already calling it a hit.
Polo Fan
First public appearance of Mr. and Mrs.
Franchot Tone since he returned from hos-
pitalization in Baltimore was at the preview
of "Adventures of Marco Polo." Our spy,
who sat next to Miss Crawford, reports she
was completely captivated by the activities
of Mr. Polo; so much so that she didn't stop
her frantic gum-chewing until the picture
was over.
Now that both Joan Bennett and Walter
Wanger are practically single, their ro-
mance has advanced beyond the rumor
stage. As is the case in most well-known
Hollywood romances, both principals are
trying their best to keep it a secret. At
the "Tom Sawyer" preview, for instance,
they pulled a surprise end run on photog-
raphers and romped across the goal line
(Grauman's entrance) without a single
flash bulb near them.
(Continued on page 123)
90
MODERN SCREEN
LOVE AT FIRST SIGHT
(Continued from page 53)
On the appointed day they stepped out
on the dance floor. Somehow, they got
through with it. The customers, largely
recruited from among their friends and
their friends' friends, applauded. Johnson
and Murphy had brought them in, so the
management was satisfied. And by the end
of the six weeks' engagement, they were
winning plaudits even from strangers.
To follow their fight for recognition is
to follow a monotonous succession of hopes
and disappointments, of jobs promised and
withdrawn, of engagements filled and not
paid for, of money spent to buy new dance
routines, of practice to perfect their tech-
niciue. There was the time when they
knew that, unless something broke by the
end of the week, Julie would have to go
back to Detroit and George to Wall
Street. Julie was trying to keep her tears
from spotting the lingerie she was packing,
when George waltzed in, yelling : "The
fort is saved." There was the blessed time
when they worked with George Olsen for
two solid years.
JULIE soon took over the business end.
George was a fiend for work. George
was a marvel at thinking up snappy rou-
tines. But when some manager, choked to
the gills with coin, would pour a hard luck
tale into George's ear, George would weep
for_ him. "The guy's in a spot," he'd tell
Julie. "We've got to play ball with him."
Wist Julie played ball, till George discov-
ered for himself a couple of times, who was
in the spot. Thereafter he told the man-
agers : "Go cry on Julie's shoulder. Mine
has a headache. He was, and still is, tem-
peramentally incapable of driving a bargain.
He wanted to work. Try as he would, he
couldn't lash himself into a lather over
whether he worked for five dollars
twenty-five.
From the day when he realized that he
couldn't bear to have Julie in Florida, with
himself in New York, he'd known he
wanted her to be his wife. He suspected
she knew it too. He hadn't said anything
because he was waiting for that visionary
day when he could afi^ord to marry. They'd
been dancing together for a year and a half,
and the day seemed as far off as ever.
George suddenly decided he could wait no
longer.
When Julie's around, he tells the story
of his proposal this way : "I pulled the old
gag about two living cheaper than one.
She laughed. Three times I asked her to
marry, and she turned me down. Finally
I said: 'Nuts, we'll forget about it!' Then
Julie got interested."
Her blue eyes dance, but she refuses to
confirm or deny the story.
They didn't want to go on being just a
dance team. Their object was to break
into a show.
Their chance finally came with the Lon-
don production of "Good News." They'd
been playing for a week when the leading
man was fired, and the part given to
George. "Wait till we ram this down their
throats in New York," he said, seated for
the first time before an array of make-up
cream. "Say, which of these things do you
smear on your face first?"
Before the run was over, they received
a cabled offer to do a show in New York.
They were to be back by Christmas. That
would give them time to see England,
which they did in style. Why hoard money,
with a show on Broadway waiting to wel-
come them in?
What welcomed them as they stepped off
+he gangplank was the news that the show
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had blown up. The weary round began
again. "You're a dance team," said the
producers. "We played 'Good News' in
London," said George. "Is that so?'^' said
the producers. "We didn't see you."
It took Heywood Broun, that discerning
journalist, to recognize comedy talent with-
out waiting for somebody else to tell him
about it. He spotted the two in scene after
scene throughout his co-operative show,
"Shoot the Works." The producers came,
and the rest was plain sailing.
They worked in "Of Thee I Smg' and
in "Roberta," but Julie didn't keep her
"Roberta" part. She'd been cast as the
menace. "And," says George, "she was so
much cuter and better-looking than the lead
that they fired her."
IN the heat of resentment he wanted to
throw up his job, too. "Now wouldn't
that be silly?" she smiled. She was really
smiling. He searched her blue eyes for
a trace of hurt, and couldn't find it. "You
know I never cared about all this except as
a means to an end. Maybe it's come."
"What's come?"
"What we've always been talking about.
The time when you'd bread-win alone, and
I'd be the little woman at home."
"And you'll be just as well satisfied?
"Better."
She's stuck to that. George s path led to
Hollywood, via Sam Goldwyn, who saw a
test he'd made to oblige a friend. There
was no dancing in it. It was a comedy
scene, topped by a song, so Goldwyn
spotted him for a song in "Kid Millions."
A contract with Columbia was followed
by one with Metro. But his career lan-
guished till Universal borrowed" him for
"Top of the Town." Preview night came,
and the plaudits next morning were all for
an engaging personality named George
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92
Murphy. "Broadway Melody" sent his
stock soaring still higher, and the lead op-
posite Alice Faye in Universal's "Young
Man's Fancy" bids fair to do the rest.
The day after "Top of the Town" was
previewed, came an irate wire from Gold-
wyn: "Why in blazes didn't you tell me
you could dance f
How Sam had escaped that knowledge
it's hard to say. One of the pleasantest
sights at the Troc of an evening was that
of George and Julie dancing together. With-
out any such intention on their part,_ it
would often resolve itself into an exhibition
performance. People instinctively stepped
back, as they always will, to watch per-
fection. Again and again, when they'd re-
turned to their table, a message would be
delivered to Julie. Would she make a
movie test? The answer has always been
no, thank you.
Temperamentally different, they are
alike in sharing warm hearts and a sense
of fun. Their's is one of the few Holly-
wood households where friends stop by
without phoning first. A crowd will drop
in, and presently Julie's at the piano, play-
ing the old songs. "Time to make a break,"
someone will say at midnight. "Remember
this one?" George cuts in, and at two in
the morning they're still remembering.
They delight in poking fun at each other.
George, for instance, is an excellent ra-
conteur, but his stories have a tendency to
go on. "He's off again," Julie sighs. But
let someone else venture a similar remark,
and she's up in arms. "Who can tell a
story better than Murph?" she flares.
It's easy to see why he stirs the protec-
tive instinct. He's the kind who treasures
his friends above everything else. He
couldn't sleep one night because a gossip
writer had compared him favorably with
Astaire. He was all for rushing down to
inff^i iJ'Si liJC
Cesar Romero, Number One ladies' man of the film colony, shares
himself between June Lang and Ethel Merman, who don't seem to
mind.
MODERN SCREEN
proffer his apologies to Fred. "They're
crazy," he kept yelling. "I couldn't touch
that guy in a million years."
They can find food for laughter where
the more heavyhanded would find only
grief. They were expecting guests for
dinner just after Christmas last year, when
Julie conceived the notion of burning the
branches of the Christmas tree in the fire-
place. "Make the house smell nice."
"Sure," agreed George, on his way up
to the shower.
A few minutes later he heard her call
pleasantly, "We're on fire, Murph," then,
after a second's pause : "Lord, we are on
fire."
_ With a towel draped round his midsec-
tion, he dashed out, discovered that the
blaze was spreading merrily by way of the
vines covering the house, and rushed for
the ^ extinguishers. A-Ieantime Julie was
calling the Hollywood fire department.
"You're in Beverly Hills, lady," they told
her. "We can't come." Beverly Hills told
her to apply to the county. The county told
her she lived in Hollywood.
"What do I call next?" she asked her
husband, who by now was playing the hose
over the vines. Inside they heard the phone
ring, and the voice of their domestic drawl-
ing; "Mrs. Murphy's residence. No, Mrs.
Murphy can't come to the phone just now.
We're having a fire."
Eventually, three fire companies and the
bewildered dinner guests arrived at the
same moment.
They've recently bought their own house
in Beverly Hills, the first they've ever
owned. Rather than furnish it with stuff
they could afford but couldn't love, they're
doing it piecemeal. They're making prog-
ress, though. They've got the kitchen, the
maid's room and two bedrooms done, and
they've started on the dining room.
r ULIE'S the servant expert. But it
•J was George who picked the pair that
now form their staff. He got home one
evening to find them in the kitchen, being
interviewed. Having viewed no more than
the back of their heads, he gave Julie a
violent nod and said: "You're hired."
"What did you do that for?" his wife
inquired, when the couple had retired
beaming.
"He was a prizefighter."
"How do you know ?"
"Cauliflower ear." He strode to the door,
and called after the man : "When did you
quit fighting?"
The answer boomed back on a chuckle.
"Three years ago."
"See?" exulted George. "If he's got sense
of hurnor enough to be a prizefighter, I
want him around, even if he doesn't work
so well."
The incident which best illustrates their
relationship happened at the Cocoanut
Grove, where George was about to make
a personal appearance. Julie was at a table
with some friends. As the time for George's
appearance drew near, one of them noticed
that Julie was turning pale green. She
waved their concern away. "It'll pass," she
murmured. "I know how nervous Murph
is. I'm just sick with sympathy."
George came on, smiled at Julie, and
started his song. Two minutes later Julie
relaxed and her face was restored to its
natural color.
Feeling sick with sympathy for your
husband may not sound on the face of it,
especially romantic. Maybe -romantic isn't
the word for the Murphys, after all. It
smacks of puppy love. What they share
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light. It's the kind of thing which makes
a sacrament instead of a farce of the
promise, "for better, for worse, for richer,
for poorer, in sickness, in health, till deatii
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I
THOSE HOLLYWOOD MEN
(Continued from page 55)
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Hollywood men?" I asked, gasping a little
with surprise because Florence's words
were not the ones which I had expected
to hear.
"There's nothing wrong with the men,
except that there aren't enough of them to
go around," Florence told me. "The ques-
tion is, where are those romantic, hand-
some Hollywood men whom that girl is
hoping to see? Look around and you'll
discover for yourself how few eligible males
there are in town. Almost all the actors
and writers and practically all the pro-
ducers and directors are married. The
eligible girls outnumber the men at least
seven to one. So far as I can see, there's
less chance for romance in Hollywood, the
supposed land of romantic adventure, than
in the average American city or town."
Florence is the sort of girl who is made
for romance, a magazine-cover kind of
girl with burnished gold hair and deep,
blue eyes and a soft, rounded slenderness.
The room in which we were sitting was
a perfect setting for the girl and for ro-
mance— deep rugs, low chairs, bowls of
roses and the glowing fire. Yet Florence
told me seriously that, during the two and
a half years which she has spent in Holly-
wood, romance has not once entered her
life in any important way.
OTHER girls, young, lovely, success-
ful, glamorous Hollywood women, com-
plain of the dearth of eligible males. So,
that afternoon, listening to Florence's
voice, I made a mental count of the un-
married young men in the film colony.
There is Robert Taylor, of course, biit his
devotion to Barbara Stanwyck immediately
eliminates him from the field. George Raft
pays attention only to Virginia Peine.
Clark Gable, who is practically, if not tech-
nically, free, is devoted solely to the blonde
and gay Carole Lombard. That leaves only
a scant handful of heart whole and fancy
free young men, among them Jimmy
Stewart, Nelson Eddy, Michael Bartlett,
George Brent, Lee Tracy and Cesar
Romero. The ranks of the eligible writers
and directors are even more discouragingly
thin.
"It's not so bad for the very young girls
in their 'teens," Florence was saying when
I stopped counting. "There are a compara-
tively large number of boys, just beginning
their careers of acting or writing or working
in the technical branches of the picture
business. But for girls like this Kansas
Mary or like me, girls in their middle
twenties, there aren't nearly enough men
to go around. We're too old for the boys
and too young for the retired widowers
who make Hollywood a playground.
"Please don't think that Fm complaining,"
Florence said with a sudden little gurgle
of laughter, "Fm not worried about Holly-
wood's manless condition. Fm not the
lonely kind of person. I have a few good
friends, mostly married couples. I have all
the fun and companionship I need or want.
Besides, Fm not thinking of romance now.
The main thing that interests me is my
work. I think that most of the girls, who
are struggling for success, feel as I do.
Some day, of course, we'll want romance.
That's only natural. But, when we do, we'll
be lucky if we find it in California."
Florence had her share of romance
before she came to Hollywood. _ Her name
has been linked romantically with a dozen
young men during the short, crowded years
since she made her theatrical debut in
"June Moon."
"Fm a deep-dyed romantic at heart," she
confessed. "Since I started school I
have always been falling either in or out
of love. At first it was with the brothers
of my school mates. Then, after I went
on the stage, it was with the young men
whom I met at parties and with the sons
of my father's friends, Ring Lardner,
Junior, Owen Davis, Junior, and Phillips
Holmes, among them."
When she was eighteen years old, Flor-
ence put away her school books and firmly
announced that she wanted to be an
actress. Her father confided her desires to
one of his good friends. Ring Lardner, who
was writing a play, "June Moon," destined
to be one of Broadway's greatest successes.
Mr. Lardner wrote in a small part for the
daughter of his friend and Florence played
the role on Broadway for many long, suc-
cessful months.
TOWARD the end of the "June Moon"
engagement, when Florence was nine-
teen, she met the attractive and charming
Sidney Smith, one of the most popular
figures of both Broadway and Park Avenue.
Their romance w'as a hectic, exciting,
breathtaking afifair and, as soon as "June
Moon" closed for the summer, they were
married.
But, like so many youthful, tumultuous
marriages, theirs was doomed to failure.
It lasted exactly three months. Then they
separated. Florence returned to the home
of her parents and to a winter of fun and
dancing and gay parties. That was the
hectic era of cocktail parties and tea dances
and velvet-shrouded speakeasies and all the
forced gaiety which New York wore to
cover the first shock of the stock market
crumble. Florence was the gayest of the
gay, her father's brilliant and interesting
friends opening wide their doors to his
lovely daughter.
The starry babes of "The Ad-
ventures of Tom Sawyer,"
Tommy Kelly and Ann Gillis,
get a trip to New York.
94
"When that year was ended, I had made
up my mind," Florence said. "I knew that
I didn't want an idle, useless, fun-filled
life. So I decided to try to find another
job on the stage. This time I didn't go
to Dad or to any of his friends. I was
determined to paddle my own canoe. For
weeks I made the rounds of the agencies
and, finally, I landed a very small part
m another big success, 'Once In A Life-
time.' After that I joined a stock company
for the summer and played everything from
maids, with one line to speak, to ingenue
leads. I learned more in those few months
than I could have learned in a year on
Broadway, playing one small part."
When the stock company closed, Flor-
ence went back to job-hunting. After
weeks of searching, she found a job in the
New^ York production, "She Loves Me
Not," found it solely and entirely by her
own efi'orts, without the help of her influ-
ential father or his influential friends. It
was during the run of "She Loves Me
Not," that talent scouts from Hollywood
discovered her, tested her and offered her
a contract with the Columbia Studio. So
Florence packed her trunks and departed
for Hollywood.
Her first appearance in pictures was in
a small role in "Carnival" with Lee Tracy.
But, brief as was that part, people noticed
the lovely girl with the clear voice and the
slender, blonde grace. From that part she
stepped immediately into leading roles in
a dozen small pictures.
"I was pretty discouraged," she told me
remembering those early days. "It looked
as if I might go on and on forever, getting
nowhere, doing merely second-rate parts
Dad offered to help me, but I wouldn't let
him do anything for me. I was so terribly
anxious to make good by my own efforts
Finally, I left Columbia and free lanced
I managed to get a test for the leading
feminine role in 'Sworn Enemy' at Metro.
The test was successful and I was given
the part. That was the beginning of my
new lease on life, my new contract and my
new hopes for the future. So you can see
why I haven't time to worry about the lack
of romance in my life.
"There is one thing about Hollywood to
which I can't become accustomed, however.
That's going to public places, unescorted.
Of course, I can understand why it's
necessary. With the dearth of men the
girls would have to stay home forever if
they waited for escorts. This lack of men
has developed a splendid self-reliance and
independence and self-sufficiency in the
Hollywood girls, however. There are no
clinging vines among the unattached Holly-
wood women. It's every girl for herself
with a free field and no rules. They all are
on their toes always, alert, wide-awake
vital.
"I honestly pity the Hollywood men
rnore than the girls. Suppose the condi-
tions were reversed and there were seven
free men to every woman. Imagine how
we d feel in the mad scramble for our com-
panionship. The amazing thing is the way
in which the men manage to keep their
heads and their sense of humor But I
notice^ that they usually attach themselves
as quickly as possible to one girl. That's
the greatest protection they can find. Only
a few hardy souls, like Nelson Eddy and
Jimmy Stewart and Lee Tracy, dare to
play the field. It's an exciting game, both
to play and to watch from the sidelines."
Suddenly Florence smiled and her eyes
crinkled with laughter.
_ "Maybe I won't advise that Mary to stay
in Kansas, she said, "after all, she might
be one of the lucky ones to find real ro-
mance in Hollywood. While there's life
there's hope, you know." '
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(Continued from page 54)
but I've never forgotten his opening lines.
'Young man,' he said, 'we're eitlier going
to make a man or a damned fool out of
you, and it's going to be decided right
now.' I've forgotten the rest of the
speech, but not how it made me feel-
pretty cheap, I can tell you, standing there
digging my toe into the carpet.
"But whatever he said or did never made
any difference in the way I felt for him.
I loved him but, besides that, I never dis-
liked him, if you know what I mean. You
know, even people you love sometimes do
things you find yourself disliking them
for. But when Dad corrected me, I al-
ways knew it was for my own good."
Father and son were particularly close.
They liked the same things, and liked to
do them' together. The elder Foster taught
the boy to hunt, bought him his first gun,
made him his first fishing-rod. Preston
still has it. The one thing he wouldn't
teach him was to swim. The father had
dreamed that his first child would be a
son, .and that he would die by drowning.
When half of the dream came true, he
tried to keep the boy from the water. As
well try to keep a fish. From then till now
docks, boats, the sea, have been his ruling
passion. He haunted the piers, and at
seven decided that one day he would own
a motorboat. Today he owns the best
power cruiser on the market, and spends
there every moment he can steal from his
work.
HIS two remaining ambitions were born
in church, where he sang in the choir
and listened with awe and admiration to
the rumbling notes of a bass singer, over
six feet tall. He vowed that some day he
would be over six feet tall and a bass
singer. The former end he achieved with-
out a struggle. By the time he was seven-
teen and in his junior year at high school,
he was growing impatient to do something
about the latter, though he_ felt he might
have to abandon the bass idea and com-
promise on a baritone.
His father was opposed to his leaving
scliool.
"But this stuff I'm studying won't help
me to be a singer," he protested,
"Plenty of time for that, ;'/ that's what
you're going to be, after you graduate.
Anyway, I don't hold with this singing
business. Land you in the theatre. What
kind of work is that for a man?"
But here his mother came unexpectedly
to the rescue, "He's been taught what's
wrong and what's right, and what he makes
of himself is up to himself, I daresay
there's many a good man in the theatre
business," she declared mildly.
However, his father remained adamant
on the subject of school. So Preston took
his own way out. He neglected his^ work,
he became obstreperous, he organized a
systematic method of annoying the authori-
ties, till they finally told him, "Behave
or get out,"
Bearing this ultimatum as if it were a
hallowed treasure, he returned to his fa-
ther, "Better let me quit, Dad, before they
throw me out. Think of the blot on the
honored name of Foster," he grinned,
"And Dad," he recalls, "said, 'Young
man, this' and 'Young man, that', but at
last he said yes,"
The nearest he could get to a singing job
was packing Victrola records. He thought
at first it might be a good omen, but _ he
gave the omen the go-by when he decided
that the excelsior dust was ruining his
vocal chords. There was no dust at the
shipbuilding corporation where he next got
a job as a clerk. There was a girl, though,
named Gertrude Warren, (He calls her
True now,) They couldn't marry yet, of
course. He had to save his money for
singing lessons.
He took them for eight months. Then
he told his teacher : "I know enough now.
I'm going to New York and try my luck."
The teacher flung up his hands in hor-
ror. "You've got to study and study."
"Can't wait," smiled Preston and went
to New York, where the only offer he got
was to sing with a quartette at $35 a week.
This, he thought, smacked of a chorusman's
job and was far beneath him. So he
went back home.
What becomes oi
old tennis balls in
Hollywood? Una
Merkel feeds
them to "Shanty"
and "Jock," her
two pet Scotties.
96
MODERN SCREEN
The next few years were a monotonous
record of being hired and fired. The town
knew him as "thai crazy Foster boy who
wanted to be a singer and wanted to be an
actor and didn't know what he wanted."
They didn't understand that there boiled
within him a fierce, if inarticulate, need to
expand beyond the limits of clerking or
truckdriving. To them he was just a ne'er-
do-well who couldn't keep a job. Even
True's family eyed him askance. "I was
nothing a mother wanted for her girl," he
says cheerfully. His own family, doubtful
of the wisdom of his course, still continued
to believe in him, however.
Presently he Wmseif began doubt-
*■ ing the wisdom of his course. Anyway,
he wanted to marry True. He was given
a second chance on a newspaper he'd al-
ready been fired from, "and this time, by
golly, I stuck. True and I were married
and I told myself I was going to forget
show business, quit singing, and buckle
down to harness. And I did, for almost
two years."
The cloud on the tranquil hsrizon ap-
peared in the shape of an Italian singer,
"who got me all steamed up again. He
sent me to the maestro of a little opera
company he was interested in, and this
guy put me in the chorus. Then someone
took sick, and he gave me small parts to
sing. My chest went out. I was still on
the paper, but began neglecting my work,
and first thing I knew, I was out on my
ear."
True didn't say much, but she couldn't
help seeing which way the wind blew.
Then "The Miracle" came to Philadelphia,
and Foster got a job in the chorus. Mor-
ris Gest singled him out from among the
others, and told him he might have a job
for him some day. Foster figured that
The Crosby vocal chords get a
rest as Bing dons his blue jeans
and gives his hands a workout.
really made him an actor. He raced
home in a fever. Nothing could stop him
now.
With fifty dollars in his pocket, he
crossed the river to New York and called
on an agent he knew. "There's a piece
called 'The New Moon' with a part open.
Go down and see them."
The producer took one look at him and
said, "That's the guy. Here, read this."
He read two lines and they gave him the
air.
"I had it cinched," he says, "the thing
I'd been dreaming about. I had it in my
pocket, and then I didn't have it. I got
my chance and I wasn't good enough.
When a thing like that happens to you,
you either give up or else you get fighting
mad. I got fighting mad. I had fifty
bucks. When that was gone, I told myself,
I'd wash windows. But I wouldn't leave
that town till it gave me a job."
As he entered the agent's office a few
days later, that gentleman eyed him specu-
latively. "There's a part I think you can
fill. All they want is somebody six feet
tall. There won't be any lines to wreck
yourself on. It's a deaf and dumb China-
man."
He got the part. Five minutes later an
excited young man was phoning his wife
in New Jersey that he had a job at fifty
dollars a week. It was a mystery play
called "The Silent House," and it ran for
six months. He understudied three long
speaking parts, and spent his days hoping
to heaven someone would get sick. No
one did. He decided that acting was a
cinch, compared to singing. The show
closed and he got another part with Lionel
Atwill. He became stage manager at a
hundred a week. His wife joined him.
Atwill grew interested in him, coached
(Continued on page 100)
wfia moment fo/ose^/i
[Stocking Appeal]
They couldn't help
noticing Betty's
great big RUN •••
1: OOR BETTY! Just as she
had captured the two most at-
tractive men in the room, that
awful run had to pop. It made her
look so dowdy . . . killed S. A.*
Why not cut down runs . . .
guard S. A. . . . with Lux? Lux
saves the elasticity of stockings so
the silk can stretch without snap-
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into shape. You cut down runs,
avoid wrinkles, wobbly seams.
Cake-soap rubbing and soaps
with harmful alkali weaken elas-
ticity, rob you of S. A. Lux has
no harmful alkali. Buy the big
box for extra economy.
ACCENT «« SPRING
B Y
K N N
Joan Perry wears
an ' all purpose '
three-piece' sports
suit made - of
closely woven
nubbly wool. The
hip-length coat,
with its slightly
full shoulder line
and straight, slim
sleeves, has deep
lapels and four
patch - pockets.
ACCENT ON Spring! In
this new season of 1938, this
means, according to Holly-
wood's best designers — accent
on naturalness, gayety, youth,
and femininity ! Which ought
to be pleasing news to all you
gals who like your clothes to
be flattering as well as smart.
If you're young, feminine,
with an eye for color, then
this Spring's styles were just
made for you.
Hollywood expresses femi-
ninity and naturalness through
fitted lines and soft draping.
Youth and gayety are stressed
through the use of brilliant
WILLS
colors, brief skirts, bolero and
jacket frocks, wide-brimmed
and chin-strap chapeaux, or
the three "B's" that are film-
land's favorites — berets,
beanies and babushkas.
Very smart, wearable and
typical of Spring were the
costumes worn by Joan Perry
and Gertrude Niesen in their
recent college picture, "Start
Cheering." Most of these
were two or three piece in
contrasting or harmonizing
colors, with straight, short
skirts, gay print blouses and
tricky little jackets trimly
tailored, but with attention
Marjorie Weaver's black
dress features a mottled
leather belt which
matches her peaked hat
of stitched straw. On her
high-placed double flap
pockets, she wears one of
the popular "head
hunter" clips.
98
MODERN SCREEN
to smart detail in their unusual buttons
and fastenings, novel treatment of sleeves,
neckline and waist, so they might be worn
for almost any type of daytime occasion.
Another type of all-around utility cos-
tume is the three-piece sports suit which
Joan Perry models for you here. If you
have no use for a man-tailored suit because
you live in the country, or because your
activities are such that you're either all
dressed up or in sports clothes — then what
you need most is an all-purpose suit like
Joan's. It looks very much like an ex-
pensive imported tweed and gives the same
effect of casual elegance. But in reality,
it's made of closely woven nubbly wool.
Four colors are combined in this ensemble,
with grey predominant. The hip-length
coat is a black, grey and red mixture, with
deep lapels and four patch pockets placed
so that their stripes run across the
stripes on the coat, for contrast. The
shoulder line is slightly full, the sleeves
straight and slim. Joan's sweater, of a
matching grey, boasts a tiny white pique
collar, while her white hankie tucked into
the jacket pocket is an extra touch to carry
out the color scheme. The closely knit skirt
with its deep centre pleat is also of grey.
Black accessories, gabardine and kid
pumps and kid belt, complete the costume.
The beauty of a suit like this is its ver-
satility, for it can be combined with other
blouses, skirts and jackets in your ward-
robe. For days in the country and spec-
tator sports events, it is worn as is, with
the sweater blouse, black classic felt hat
and black pull-on gloves. When it
goes to town for the day, the jacket and
skirt are worn with a tailored silk blouse,
white or red, and a soft felt hat with a red
quill feather. With formal accessories, a
small fur scarf may be worn. And, inci-
dentally, if you want to be "ultra-ultra,"
be sure to wear the new delicately meshed
lisle hose with your tweeds and knit
dresses for both town and country.
npHOSE of you who are strictly city-
dwellers, however, will find more use
for the formal man-tailored suit, a perfect
example of which is worn by Gail Patrick
in "Dangerous to Know." This is the type
of suit that will be chosen for street wear
by smart metropolitans from Fifth Avenue
to Hollywood Boulevard.
With Paris and Hollywood both crying,
"Color !" what are we who have to count
our pennies going to do about it? We
can't go out and choose five or ten differ-
ent costumes in our favorite colors, with
as many pairs of shoes, hats and gloves to
match. But we are living in a wonderful
age — the age of the Accessory Dress, which
allows us, when Fashion clamors for col-
or, to keep up with the best of them. We
take a simple dark dress, made on the lines
most becoming to our own individual fig-
ures, and we use this as a foil for the
newest shades on the color chart, some-
times cleverly combining as many as three
different colors in our accessory scheme.
Just such a basic dress is the one shown
here by Marjorie Weaver, whom you will
soon see in "Kentucky Moonshine." Mar-
jorie sets off her short-sleeved black dress
with accessories of Sierra beige, a warm
golden tone. The belt is of mottled leather,
matching her peaked hat of stitched straw;
the buttons are bone. On one of the high-
placed double flap pockets she wears a
black enamel "head hunter" clip with gold
tassels hanging from the ears and a gold
ring in the nose.
It would take very little effort or ex-
penditure to make this into a completely
different ensemble. New buttons, belt and
hat create an entirely new effect.
AND little touches of originality like
Marjorie's unusual clip go a long way
toward enhancing the basic frock. Just
wander along the jewelry counter in the
five and ten, and you'll see all sorts of fas-
cinating pins and clips — beetles and de-
lightfully ugly spiders, gay flower combina-
tions, clusters of colorful little Tyrolean
hats, little tinkling bells, tiny wooden
shoes. Make a collection of these and clip
them to your dresses and hats. Make your-
self a smart brass-studded sports belt by
joining together two dog collars in the
same or contrasting colors, bought at
the five and dime for less than fifty
cents !
The problem of having enough changes
of hats should hold no fears for those of
you who share Hollywood's fondness for
the "beanie," or calot. And then, too,
there's the babushka, that cute little bonnet
which ties under the chin. Not only are
they worn for evening as a hood, and with
active sports costumes, but you can also
wear them with your afternoon and street
dresses — and here's the secret. Instead of
tying the strings under your chin, bring
them around to the back of your head, tie
them in a tiny bow, and presto ! you've
a fetching little bonnet. By tacking on a
circular veil, you can be even more dressy.
Briefly, here is all you have to do to
present to your public an appearance that
is smart and distinctive. Study the general
style trends as you see them in the maga-
zines, newspapers and on the screen.
Choose those that are most becoming and
which will be of the greatest service to
you. Then make these styles indi-
vidually yotds by little touches of origin-
ality such as those I have suggested. Just
dust off your imagination, and you will be
surprised at the very charming results you
can achieve !
Energy-yielding foods fortify the body agc^S^
fatigue. Baby Ruth, the big, delicious candy bar,
is a concentrated energy food; it is rich in pure
Dextrose, called "muscle" sugar by doctors. And
pure Dextrose is utilized by the body as energy,
when needed, rather than stored as fat. That's
why Baby Ruth is the preferred candy of
movie stars, athletes, active people
everywhere. It's chock-full of
energizing goodness.
CURTISS CANDY CO., OHO SCHNEIMN6, Pres. '
CHICAGO, lUINOn
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MODERN SCREEN
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bring out new. live, fresh skin. Thousands praise
it Get TAYTON'S CREAM at your 10c store,
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MB^HK Also test TAYTON'S new glamour face pow-
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VANISHING AMERICAN
(^Continued from page 97)
WHAT /?
POWDER PAHIC
SH£ IS I
YOU simply can't wear a hard-base powder and escape
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Lovely Lady Face Powder is winning new friends
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he can get yours for you.
him, worked with him, till "finally I knew
what to do with my big hands and feet."
He got a singing job in vaudeville with
Fritzi Scheff. He got a job that Allen
Jenkins walked out on. Finally he got a
job in a play called "Two Seconds."
The emotional impact of this play was
such that when the final curtain fell on
opening night, the audience stood huzzaing,
while Foster and the leading man took
curtain call after curtain call, the tears
streaming helplessly down their cheeks.
"The day after you open in this part,"
his manager, William Stephens, had told
him, "I'll sell you down the river to pic-
tures." And he kept his promise.
On the screen he played his original
part in "Two Seconds," following it with
a lead in "The Last Mile." Then, because
Paul Muni was in it, he took a bit in "I'm
a Fugitive From a Chain Gang." Purple
adjectives aren't in Foster's line, but the
way his face lights up at mention of Muni's
name is worth more than adjectives.
"There's an actor," he says, his voice al-
most tender. "There's the boy for my
money. I was tickled to death when they
gave him the Academy Award." The
smile in his eyes deepened. "Only one
thing could make me happier — if I got it
myself."
Originally he was not cast for "The In-
former." But he asked to be.
"We're building you up for leads," they
protested. "There's nothing here for you
but a third part."
"I don't care if it's a tenth part. I've
got a notion this picture is going places.
I want to go with it."
And go with it he did, playing the_ Irish
patriot to such perfection that, even in the
face of McLaglen's superb performance, his
own made its own deep impression.
He's one of those who wanted to go to
Hollywood and, having gone, wants _ to
stay. He says phooey to any yearning
nostalgia for the stage. "There is a thrill
in the personal contact,"_ he admits. "I got
mine on the operiing night of 'Two Sec-
onds.' I might go for fifty years and never
match it. Meantime, the movies offer
plenty to compensate."
The first thing he did on arrival was to
inspect the harbors. When he found one to
suit him at Balboa, he bought a boat._ His
boat and his business absorb him. It's not
so much that he avoids the publicized pit-
falls of Hollywood as that for him they
don't exist. His head is too hard to swell.
An occasional cocktail before dinner be-
gins and ends his drinking. He loves his
wife. She couldn't be bribed to return to
New York. Her life, like his, revolves
around essentials. The girl who stood by
him when he was "that crazy Foster boy"
now handles his fan mail, because she likes
to. For the rest, a few close friends and a
children's hospital that she's interested in
suffice to fill her days.
ONE Christmas, Foster had made rail-
road reservations to go East. "We're
a sentimental family about Christmas," he
explains. "It's always been the same pro-
cedure ever since we were kids. We get up
early on Christmas morning. The gifts are
all put together in the middle of the room,
and one of the girls gives them out. Then
we have Christmas breakfast, and spend
the rest of the day together at home. It's
always been a great time with us. Dad
was ailing, and I had a hunch it would be
the last Christmas we'd all have together."
He was offered a part in "Love Before
Breakfast" with Carole Lombard.
"I won't take it," he said. "My father's
sick. It's Christmas and I'm going."
But a contract's a contract. It was
Christmas and he stayed.
They sent for him the following October.
When he entered the sickroom, his father
murmured: "My boy — best boy that ever
lived."
So long as he knew them, they kidded
him gently, and he smiled back. It was
the old, the ingrained habit of keeping up
the morale. Preston brought new strength
to the weary household. He even tried to
force a smile to his mother's lips, make
her forget for a moment what she was
going through. They took turns at the
bedside, wife, son, daughters, in-laws. One
night the nurse said: "I doubt if he'll see
another."
Preston kept vigil till four, then was
sent to sleep for a couple of hours. Re-
turning, he took his father's hand in his to
feel the pulse. He was still holding it
when the pulse stopped.
In going through his father's wallet later,
he found among other things numerous
clippings and pictures of himself. "I'm
afraid he made rather a nuisance of hirn-
self in local circles, talking about his
'young man,' " said the "young man"
gently.
Maybe he did. I doubt if the local circles
minded. They seem to have done quite a
lot of bragging on their own account. But
if the old man was proud of his son's suc-
cess, he must have been still prouder of
something else. It wasn't the actor he
welcomed with his dying eyes. It was
"my boy — the best boy that ever lived."
1
After that sojourn in the gutter
that she managed so capably
for "Dead End," Claire Trevor
gets back into the trappings of
a lady. You'll see her in
"Walking Down Broadway."
ion
MODERN SCREEN
GLAMOR FOR RENT
(Continued from page 41)
once upon a time Mr. V on Sternberg him-
self didn't mind paying for? No one knew
who the star was, but that was the very
secret of the secret's success. That was
the kind of campaign that any space-sales-
man could thrill to. Thus Samuel Gold-
wyn personally went to the bill-board bat
for Anna Sten. Thus Darryl Zanuck for
Simone Simon. But now, only about two
years later, no more. The public is no
longer fascinated just by one name. New
imports are now given the opportunity —
yea, the edict, to show first what they can
do, and not until after the first preview are
they introduced to the public at large.
And neither of these girls arrived with
the fifteen or twenty trunks of clothes,
that an earlier harbinger from Europe,
Lilian Harvey, brought with her a few
years ago, and all to no avail. In fact if one
has clothes today, whole carloads of them,
it's the smartest thing to keep them out
of the public eye, for the actress who is
a clothes horse is also on the wane, along
with all those other fancy appurtenances of
the Great Glamor decade. Marlene Diet-
rich still traipses back and forth to Europe
with three suites, one for herself and two
for her veils, but that hasn't helped the
public any too much either when it comes
to a show-down of acclaiming her favorite.
But it was chiefly because of Dietrich,
back there in the early thirties, and the
example which she set, that a few of the
others who would have liked to follow in
her romantic footsteps came upon the idea
that what glamor they couldn't buy, they
might rent. There was one youngster,
Madge Evans by name, who suddenly
realized that she'd never get anywhere as
long as producers, directors and such,
persisted in thinking of her as an uninterest-
ing but nice-enough child. Something had
to be done, and quickly, and there was no
time, nor the inclination to. go to work
building up a real romance, so Madge did
the next best thing and hied herself to one
of Hollywood's big jewelry shops, where
she rented a ring. It was a large ring,
a very large diamond, set in a circle of
small sapphires, and Madge wore no gloves
for that whole week afterward. Heads
turned and tongues wagged and there was
plenty of conjecture. Little Madge snag-
It's chic to whip up a little
needlework between scenes,
but Glenda Farrell crochets the
bedspread to end all bed-
spreads.
HELP WANTED.. WOMEN!
"Lysol" gives greater assurance
of intimate cleanliness
WOMEN . . . any woman . . . you . . . are
foolish to risk offending by neglect
of personal daintiness. Your happiness
and even the security of your home may
rest on a dependable method of intimate
feminine hygiene. Use the "Lysol" method.
Often the very nicest and loveliest
women are at fault. No one warns you.
The offense is too personal. Yet so many
women would benefit by giving this sub-
ject honest thought. Ask any experienced
family doctor.
The fact often is — your fussiest bathing,
your loveliest beauty aids, just cannot
make you completely clean, sweetly nice.
People may notice; your husband surely
will. And may think you are carelessly
neglectful. To be sure of not offending,
use the wholesome, efficient method many
doctors and nurses recommend — "Lysol"
in the proper dilution with water.
You can buy "Lysol" disinfectant in
any drug store — with detailed directions
for use on every bottle.
Six reasons why ^^LysoV is recom-
mended for your intimate hygiene — to give
you assurance of intimate cleanliness.
1 — Non-Caustic . . . "Lysol", in the proper dilution,
is gentle. It contains no harmful free caustic alkali.
2 — Effectiveness . . . "Lysol" is a powerful germ-
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in the presence of organic matter (such as dirt,
mucus, serum, etc.).
3 — Spreading ■ • . "Lysol" solutions spread because
of low surface tension, and thus virtually search
out germs.
4 — Economy . . . "Lysol", because it is concentrated,
costs only about one cent an application in the
proper dilution for feminine hygiene.
5 — Odor . . . The cleanly odor of "Lysol" disappears
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6 — Stability . . . "Lysol" keeps its full strength no
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What Every Woman Should Know
SEND THIS COUPON FOR "LYSOL" BOOKLET
LEHN & FINK Products Corp.
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Send me free booklet **Lysot vs. Germs'*^ which tells the
many uses of "Lysol."
FOR FEMININE HYGIENE
Name-
Street -
City
-Stale^
Copyright 1938 by t^hn it Fink Products Corp.
101
MODERN SCREEN
Don't
buy Baby
Shoes by
Guess!
stores listed
below use this^ ^
measuring
device.
Youcanbesure
of the correct
size, provided
you buy Wee Walker
Shoes. If it is incon-
venient to bring baby with you, simply bring
along an outline of baby's stockinged foot, taken
while standing. The store, with the aid of the
measure, will give you the exact size needed.
WARNING : Measure is accurate only for Wee
Walker Shoes.
Wee Walkers have every practical feature of ex-
pensive shoes, yet cost very little. For baby's sake
change to new ones often, as baby feet grow very
rapidly. The price is low because they are the
product of America's largest exclu-
sive infant shoe makers and are sold
in stores with very low selling cost.
Look for them in the Infant's Wear
Department of the following :
W. T. Grant Co. S. S. Kresge Co. J. J. Newberry Co.
H. L. Green Co., Inc. (F & W Grand Stores. Isaac Silver and
Bros., Metropolitan Chain Stores, Inc.)
G. R. Kinney Co., Inc. Sears, Roebuck Charles Stores
Schulte-United Stores
i, KoeDUCK t.narie
Lincoln Stores, Inc.
Canadian
OrderB
Send Cash)
This Beautiful, Lifelike
PHOTO RING
SEND
' NEWEST SENSA* mq MONEY
TION! Send any -
snapshot or photo
and we'll repro-
duce it in this
beautiful onyx-
like ring. [Photos (Hand-painted
RetJirned) 25c extra)
Enclose strip of paper for ring size. Pay post-
man plus a few cents postage. If you send oOr
we will pay postage. REX PHOTO RING CO..
Dept. MR-7, Box 947, Cincinnati, Ohio.
NO MONEY
50 c
I MEAN IT ! I WANT
THE BABY POWDER
THAT FIGHTS GERMS
BORftTCD POWDER
Reco^r^ended by ^ore doctors
than any
102
other baby powc
ging that I Hmmm.
When questioned, Madge managed to look
flustered and embarrassed, and said the
wedding would be soon, which only made
the "Hmmm" continue a little louder. Be-
fore the week was up Madge was assigned
a part which up until then had been de-
clared too old and a little beyond her.
But this practice wasn't indulged in only
by Madge. There were others before, and
since, who added quite a glitter to their
personality by the simple expedient of
rented gems, but the rental business in this
particular line has fallen off, too. Just re-
cently a jeweler approached Wendy Barrie
and asked her to wear a certain necklace
which he had just originated, rubies and
pearls in a beautiful design. Miss Barrie
would not even have to pay for the privi-
lege, he assured her. He only wanted her
word that she would wear it to all the
best places, and when it was admired, she
was to say where she had purchased it.
This proposal, surprisingly enough, was
turned down cold. "That's all very well and
good," Miss Barrie said, "but suppose
somebody begins to wonder how I can
afford such a necklace. Not only my im-
mediate family, it would upset them
enough, I know, but I also have another
relative whose good will, even above the
others, I'd like to keep. Maybe you've
heard of him. We call him Uncle Sam,"
she added with a smile, "and as it happens
he has a very accurate accounting of what
I make and what I own. I'm sorry, and
thanks just the same."
THERE are many furriers in Hollywood
who still do rent fur coats, but their
business, surprisingly enough, is mostly
among the extras, and even this is not so
much for personal show as for business,
as these are evening wraps mostly. With
such a trick up her sleeve, an extra girl
can answer the call for dress extras, and
make fifteen dollars a day, instead of the
usual seven-fifty. The coat costs her three
or four dollars, depending on what it is,
and she's still several dollars to the good,
above the usual figure. However, some
of these girls do manage sometimes to
buy clothes which once belonged to the big
stars, and there is one place out in Beverly
Hills, the Patsy Rogan Shop, where Joan
Bennett and Myrna Loy and others take
their old things, which in turn are sold
at a fraction of their original cost to any-
one who has a few dollars and the figure to
get into them. There have also been sev-
eral instances where dress shop owners
have outfitted newcomers for nothing, with
the promise that if they succeed, they'll pay
up for past deliveries, and continue to do
business with them.
This kind of an agreement was made,
not so long ago, between Harry Cooper
and Dorothy Lamour. Dorothy arrived
in town, with scarcely more than two or
three complete outfits to her name, and one
day she went into the Cooper shop to see
if she could open a charge account. She
told him frankly that she had no money, but
begged him to trust her with "just a few
things."
After talking with her a while, Mr.
Cooper said he would do better than that.
"What you need is a lot of things, and
good things, and as for the money, you let
me worry about that." Now his faith in
her has been justified. Dorothy is one
customer he's sure he'll never lose.
But even Dorothy didn't burst out in
"glamor clothes" as we used to know them.
Neat little sport suits, tailored dresses,
plain but smart hats. Here she is, one of
the newest and most luscious of the new
glamor stars, but only on the screen and in
her publicity pictures. Off the screen she
dresses simply, rides simply and lives
simply, and she is so typical of the many
new youngsters in pictures that you can
see where and why the business part of
the glamor industry is slipping. "You
should rent a beautiful big house out in
Bel Air, have a maid or two, and do a
little entertaining," the renting agents from
all the real estate offices tell her. "That's
how to get along in this town."
But Dorothy smiles a smile which seems
to say that she's doing all right as she is,
and then she tells them about that four-year
lease which she has on her present small
apartment. "That's my insurance against
falling for that old-fashioned argument,"
she tells them plainly, and it's no wonder
they go away grumbling.
Dorothy isn't the only one. There's
Olivia de Havilland, who still lives with
her mother and her sister in a small Holly-
wood apartment. Martha Raye packs her
loud voice, her screaming vitality and all
her fifty pairs of shoes in just four rooms.
It used to be the first thing one did, on
arriving in Hollywood. One rented a big
house first, then went to town afterward.
But it is rapidly becoming an old Holly-
wood custom. When Sonja Henie arrived
and rented a big white house on a hill, and
bought herself an extravagant-looking white
car to run around in, the glamor agents,
for one brief moment of happiness, thought
that perhaps the custom was being re-
vived. But, then, Sonja explained that this
display had nothing to do with what she
hoped to make out of her career as an
actress. This was merely living up to her
reputation as a world champion ice skater.
This, then, was not glamor rented on hope,
as in the old days, but "position" bought
and paid for on skates.
No, they are not making the splashes
as they once did. What has happened to
the Carole Lombard who, several years
ago, achieved a new reputation and a second
wind spurt in her career, by being known
as Hollywood's biggest party giver. There
was that time she rented the entire amuse-
ment pier at Venice ; turned it into an hil-
arious party place, so that Dietrich might
slide down slides and Claudette Colbert
take a turn through tumbling barrels, not
only to their personal delight, but for the
delight of the world. After that, there were
quite a few wholesale rentals — skating-
rinks, bowling alleys, dance halls and what
not.
Where are those parties, those extrava-
gant shebangs now? Miss Lombard has
all but gone into solitude, spending her free
John Barrymore tussles with his
daily crossword puzzle. It's all
part of the domesticating
process achieved by the reso-
lute Mrs. Barrymore.
MODERN SCREEN
time on her ranch, and even Kay Francis,
who used to rent a place such as the Ven-
dome once each year for the whole stellar
list of Hollywood, now rents no more, but
occasionally has a few guests to dine in
her own home.
Are they getting stingy? Not a bit
of it. But they are getting wise. They see
that the public, living moderately itself, has
come to prefer the stars who live that way,
too. Instead of that old awe, a new palsy-
walsy feeling has taken its place. "They're
just human after all!" say the fans when
they read that Clark Gable or Jimmy
Stewart tinkers with his own car; that
Loretta Young does her own marketing.
GONE even are the glamorous gestures
that the great screen idols used to
make toward their lady-loves. Gone so far
into the past that some of them are hard
to recall, but there are a few which stand
out. Notably there was the time when
Rudolph Valentino hired the staff of a large
flower house, to properly decorate his home
and the entrance up to it, to welcome Pola
Negri, who was merely coming to dinner.
There was a pathway of roses over which
she walked, a table cloth of gardenias over
which she ate. To-day Bob Taylor takes
Barbara Stanwyck to Ocean Park and to-
gether they ride on the roller coaster. It
goes to show how things have changed.
And there was that one other occasion,
the occasion of probably the greatest glamor
rental in history. A very famous young
man, some say it was John Gilbert, and
his equally famous lady friend once
stopped at a well-known California resort.
They were driving and they only intended
to stop for tea, but the lady looked at
the deep green pool about which the hotel
was built, and she breathed, "How beauti-
ful it would be to swim there, in the nude,
in all that sunshine. It's something I've
always wanted to do ever since I was a
child."
A few minutes later it was arranged.
But it wasn't so easy as it may seem. The
pool part was easy enough, but the hotel
was a popular one, and every room which
looked out over the pool was taken at the
time. But, within the hour, guests were
moved, the blinds pulled, and to the tune
of a four-figure sum, the lady had her
swim — alone, we might add, without a soul
looking on.
But such things don't happen any more.
It's sad in a way, and it's tough on the
publicists who now have to make much of
such things as how Maureen O'Sullivan
makes good old-fashioned potato bread,
but it's all in the name of progress toward
a greater sanity and a more simple life.
FIRED ^^^jjj^^^^ijj^^
W. C. Fields, restored to health, is
soon to co-star with John Barrymore
in "Things Began to Happen."
"Just fired the best stenographer
1 ever had. Nice girl but I couldn't
stand her painted face."
"It's not your work, dear — it's
that misfit makeup. Why don't
you do something about it?**
"Miss Roberts, I guess I spoke too
soon. Let's forget it — the job'*
yours as long as you want it."
choose
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103
MODERN SCREEN
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104
HAS SHE ANYTHING LEFT TO WANT?
(Continued from page 39)
haven't worked for.
"And I want to remember this phase of
my life for all of my life. It's a salutary
thought. And I'd like others to remember
it, too, if they are interested. For I believe
that anyone can get from life exactly what
they want if they have the physical "wam,"
the intestinal fortitude, to go out and get
it. There are hundreds of girls with voices
every bit as good as mine, girls born with
more looks than I was born with, and they
do nothing about it. The trouble with them
is it's all mental. They sit around and think
about what they would like to do, what
they should be doing, instead of doing some-
thing active about it."
"But, after all, Jeanette, you had great
beauty and the voice. Do you honestly be-
lieve you would have got where you are
now if you had been plain, unprepossess-
ing?"
"Who says I had beauty?" demanded
Jeanette. "I did not ! And I can prove it."
And Jeanette took herself into the library,
returned with a portfolio of pictures, pro-
duced photographs of herself at the ages
of eleven, fourteen, sixteen, said trium-
phantly. "See, I was too thin, much too
thin. When I first went to New York I
was all eyes and teeth. I didn't have beauty
nor self-confidence nor glamor nor train-
ing nor pull. I did have ambition, I did
have the physical energy to move the body
from place to place. I did not sit and mope
and pine and say, 'Oh, well, of course it
was different for Jenny Lind!'
"I had patience. I took advice. I gained
ten pounds, deliberately, and a commensur-
ate amount of looks. I firmly believe that
any girl can even make herself pretty ac-
cording to the way she thinks. I also be-
lieve that laziness, alibis, what is known
as 'passing the buck' are the only real
deterrents to success.
"Yes, that's something I do want to re-
member— how hard I worked, how steep
that upgrade was. I want to remember it
well because it's a spine-stiffening thought
if ever I have to make an upgrade again.
RIGHT now, I am thankful, of course. I
count my blessings. Whenever I am
petty — and we are all petty, I'm afraid, at
times — I have the grace to be good and
ashamed of myself.
"I am thankful but I am also aware that
the truest axiom ever written is, 'This, too.
shall pass away.'
"Ultimately I must give up my ambition,
of course. We all lay down the cudgels
sooner or later for younger hands to pick
up. I shall doubtless have more ups and
more downs in my work, in my life. What
I want is to be able to take the downs as
gallantly as, for instance, the late great
Madame Schumann-Heink did. Think of
how many times she was down and would
have been completely out if it had not been
for her invincible spirit.
"I want," said Jeanette, "an invincible
spirit. That, above all, is what I do want.
When the bad times come, or if they come,
I want to be big enough to take them with-
out whining.
"You know," Jeanette went on, speaking
with that gravity which can only come
from some deep-felt source, "one never
knows. Life is fluid and keeps moving and
motion means change. I know that every-
thing I have now can pass away. I know
that the money I have worked for and put
away against the future may, with condi-
tions in the world what they are today.
be swept away, next year, five years from
now, who can tell? There may be wars
and I may lose my husband. Youth passes
and the lustre of fame dims. These are in-
evitabilities. You say that I have my voice,
too. Yes, but that also can go. It has
happened to others. It could happen to me.
"I want to learn well the lesson that we
are, all of us, essentially alone. We have,
in the last analysis, only ourselves to de-
pend on. Only that stuff of which we are
made, or make ourselves, can stand us in
stead, good or bad. The very words I am
saying to you may enter your mind and
there be transmuted into meanings I never
intended them to have. I sing on the air
and my voice goes from me and is mine
no longer. It is everyone's who listens.
"To hold the memory of my happiness,"
she said, then, "I want that so much."
She told some of the memories she hopes
will never dim for her. The little thought-
fulnesses of Gene, the gifts he sends her
when she begins each new picture, the
charm bracelet he sent her when she started
"Maytime," with tiny golden clefs and
notes of music as the charms, and minia-
ture golden letters spelling out the word
"Sweetheart," the jade brooch he gave her
when she started "Firefly"; the charm
bracelet he sent her when she started work
in "The Girl of The Golden West," the
charms two tiny gold guns, a tiny upright
gold piano, a gold lariat, a couple of
miniature gold horses. "And I am supersti-
tious about these gifts, too" Jeanette
laughed. "I wear each one throughout the
picture. I wouldn't shoot a single foot of
film without wearing it, even if I have to
put it in my shoe. I've always been super-
stitious about anything like that."
AND Jeanette does her share, too. For
while Gene was making "Stolen
Heaven" recently, he had a dance number
to do and Jeanette sent him a bronze dance
trophy, one of those things with "To The
Winner" engraved on the base. And the
director, acting in cooperation with Jean-
ette, presented it to Gene on the set.
"Gene," Jeanette said, "all but died of
embarrassment and / nearly died of laugh-
Jeanette MacDonald, "Girl of the
Golden West," goes in for pud-
dings between scenes, to keep
her voice smooth or something.
MODERN SCREEN
Guess what famous phrase
Dancer Buddy Ebsen is illus-
trating— with the help of Kidder
Leo Corrillo.
ter when he came home that night and
told me about it !"
And there are the games they play.
"We've always been slightly mad about
games," laughed Jeanette. "Our Christmas
tree resembled a six-year-old's idea of
what Santa would do in a generous mood.
Every game in the toy departments was
there. Our current favorite is, of course,
Indications, a kind of new version of the
old Charades, Gene had to do Minnie the
Moocher the other night and he couldn't do
it — because, he said, he didn't know how
to mooch.
"I've always heard," said Jeanette,
amused, "that the first year of married life
is the hardest. Well, then, I have yet an-
other blessing to count, for in the eighth
month of married life, I can only say that
I'll want to remember every day of it. I'll
want to remember our mutual love of
music, the songs we sing together, the
friends we share together, our love of
horses and the rides we take.
"I want to keep the material things I
have, too, our home and all of our beau-
tiful things. For to have is one thing, to
keep is another. I want to keep them
beautiful. I am still in the stage where
I go about just touching things to be sure
they are here, and ours, and won't vanish.
I like to take care of my things, too, and
do. I'm not careless. I'm not extravagant.
I don't think I waste my blessings, either
material or immaterial. I never squander
money on furs, jewels, imported gowns,
other feminine frivolities. I am, on the
other hand, full of pet economies.
jCpVERY Thursday I go into the kitchen
and inspect the ice box. And nothing
makes me more furious than to find two
or three surplus quarts of milk there. I
can't help thinking of all the underfed
children in the world to whom this milk,
spoiling in my ice-box, would mean life.
I will not allow waste. If we have a roast
for dinner Tuesday night, we have hasli
or stew the next night. I wouldn't dream
of wearing a dress, a hat, a couple of times
and then tossing them aside. No ma'am,
I have my clothes made over, sometimes
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MODERN SCREEN
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The event of the year at Uni-
versal will be the debut of
Danielle Darrieux in "The Rage
of Paris." Danielle and her
writer-husband, Henri Decoin,
puzzle over the English
language.
more than once. I save things. I even save
little odds and ends of ribbon, from florists'
boxes, gift boxes. I give them to my
maid to cover plain wooden hangers with.
She pads the hangers with cotton first,
then twines the fragments of ribbons
around them and there they are, gay and
attractive and costing nothing!
"I do have one extravagance, though,"
laughed Jeanette, "and it's a complex for
making long distance telephone calls ! It's
a positive phobia with me. When I was in
New York the autumn before Gene and I
were married, well, I had a phone bill and
it was a honey ! When I was in Tahoe
on location, ditto. I never think of waiting
for the lowered-rate hours. I talk and talk
and talk, for hours. But in every other
respect" said Jeanette, with emphasis,
"I'd call myself economical.
"I don't like the idea of doing a house
over every year or so. I like the feeling
of things I've lived with. I like the chintzes
to grow a little faded, comfy dents in the
chairs where my friends have rested, the
kind of a house where you can sit on the
divans and chairs with your feet tucked
under you without feeling that your host-
ess may be, mentally, raising pained eye-
brows. To take care of what I have,"
Jeanette said, "the things I can see and
touch, that is what I want.
"And oh, there are lots of little things,
too, for me to want. I'd like to be able
to sleep nights, for one not-so-little in-
stance. For it's not such a little thing,
being an insomniac. I've tried everything,
from turning on the radio softly to count-
ing sheep. I try reading myself to sleep
but that makes it worse. Once I start a
book I'm awake until the book is finished.
I want to get over my perfect genius for
saying the wrong thing. I've given myself
some of the most embarrassing moments
thanks to this 'gift.' I remember a time,
some years ago, when my young nephew
was caught playing hooky from school.
I decided to read him the riot act, and did.
I said to him, 'Here I am, working myself
to skin and bone, going to the theatre
every night and what do you do? You
take advantage of me, you don't appreciate
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106
MODERN SCREEN
Sonja Henie got herself decked
out in ermine tails to go step-
ping with a new beau — Cesar
Romero.
what I am trying to do and — and I don't
mean a word of it !' And then I clapped
my hand over my mouth and gave myself
the laugh and he, of course, did the same
thing. What I'd meant to say was, 'And
I mean every word of it !' I get so excited
with what I am saying that it doesn't seem
to matter to me what words I use.
"I should like to write. And if ever I do
any writing it will not be poetry! I detest
poetry. I never read it, it bores me. If
ever I do any writing it will be, I think,
very simple, very down-to-earth writing.
"I have one obsessing yen, to take a trip
in a trailer with Gene. It would be more
fun than to take any kind of a trip on
the most de luxe ship, train or plane. I
want to keep house in a trailer. I want
to cook in a trailer."
Gene phoned. A week-end trip was
planned, then and there. Jeanette's maid
was summoned, packing instructions given.
Jeanette walked to the door with me, she
walked down the flower-bordered path,
sweet-scented in the dusk. She looked back
at the house which contains her happiness
and I looked at her, who gives happiness
to so many. I went away with a newly
increased respect for this girl who, en-
dowed with and surrounded by all the
treasures of the earth says, "I want to keep
what I have — I want an invincible spirit."
Solution to Puzzle on Page 12
HEP
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60
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{Continued from page 87)
their mates, their children and their homes,
rather than an elaborate description of
Dawn Darling spending every day gamb-
ling at the race track, and spending long
hours each night at the Swanky Swank
Club. This latter type of publicity isn't
exactly wholesome, and we theatre-goers
aren't so degenerate that we can't appre-
ciate the splendid father Bing Crosby is, or
grin when we see a picture of lovable
Wally Beery with his adorable Carol Ann.
Even Gary Cooper has been roped and
branded as a home lover — and he is prouder
of his new daughter than of any picture
he ever made. The same goes for feminine
stars. Let's hear more of their homes and
babies, and less about night clubs and pros-
pective divorces. — Gladyce Bennett, Hous-
ton, Texas.
$1.00 Prize Letter
As She Sees Them
Shirley Temple — bonny.
Sunshine dancing on yellow poppies . . .
Irene Dunne — genial.
Fragrant apple pies on the kitchen table.
Claudette Colbert — vivacious.
High heels . . . wind-tossed laughter . . .
Ginger Rogers — animated.
Hurdy-gurdy music on a spring day. . . .
Greta Garbo — idealist.
Wind-swept cliff overlooking a pounding
sea.
Mae West — suggestive.
Cigarette glowing in the dark. ...
Myrna Loy — sophisticated.
Orchids . . . soft candle-light on a lace
cloth. . . .
Katharine Hepburn — spirited.
Cornered kitten, snarling to hide its
fear. . . .
— Mrs. Edna Geries, Fresno, Cal.
$1.00 Prize Letter
Is Nothing Sacred?
"Nothing Sacred" might have been ex-
traordinarily funny had it boasted a diff-
erent theme. Somehow, I couldn't get into
the fun as whole-heartedly as I might.
The actors gave smooth performances, the
dialogue was consistently amusing, and
yet ....
Perhaps I am unique, but to me death
just isn't a comic subject. Some one sup-
posedly dying by inches, even "just pre-
tending," somehow went against the grain,
and made the laughs stick in my throat.
I would enjoy seeing the same cast in a
comedy with a less macabre theme. — D. H.
Chapman, Los Angeles, Cal.
$1.00 Prize Poem
He'd Rather See Than Be
Profoundly I worship the matchless ma-
neuvers
Of Sonja, our dainty, diminutive star;
Convinced as I am that her rythmical
motion
Surpasses the skill of her sisters by far.
Personification of effortless ease,
Exemplar of all that is skating finesse,
Li tossing my personal orchid to you
I've blundered unwittingly into a mess.
Unhappy the day that I followed your
skate-steps
Endeavoring vainly to echo your grace.
For each of my feeble, decrepitous capers
Unfailingly landed me flat on my face!
Henceforth my applause shall be utterly
passive ;
The cheers of a fan who's contented as
such.
For since I attempted to say it with skat-
^ ing _
I've worshipped your skill from the top of
a crutch !
■ — Gene Gleason, East Cleveland, Ohio.
$1.00 Prize Letter
1st Degree Murder
A couple of years ago, I saw "Times
Square Lady" and also a gentleman by the
name of Robert Taylor. Since then Mr.
Taylor has reached the very pinnacle of
fame, but, unfortunately, recently has lost
most of his popularity.
It is a famous saying — "the fans are
fickle." I disagree. It is not the fault of
the public that a star falls into oblivion.
Silly publicity is mainly at fault. What
could be more ridiculous than this "Do you
consider yourself beautiful?" business?
Why, it has finally got to the point where
a person can't confess that he is a Taylor
fan, without being ridiculed.
I admit that Mr. Taylor is not the best
actor in Hollywood, but he certainly can
point vi'ith pride to his best performance in
"Magnificent Obsession." Since then, how
many worthwhile pictures has MGM cast
him in? In "Broadway Melody of 1938"
he didn't have one decent line. In all of
his pictures, his features have a tendency
to look feminine because of excess makeup.
Therefore, MGM, I accuse you of murder
in the 1st degree — the murder of Robert
Taylor's popularity.
However, MGM is not the only studio at
fault. Take heed. Studios ! W e fans do
not destroy stars. If some who deserve to
shine brightly are flickering and even fad-
ing, the blame rests upon you. The jury
finds you guilty of the murder of v^'orth-
while careers and recommends capital pun-
ishment.— Florence Toomey, Verona, N. J.
Edward G. Robinson and Rose-
mary Lane, of the innumerable
Lane sisters, see the same joke
at a Warner Brothers banquet.
108
MODERN SCREEN
THAT THING CALLED TEMPEHAMENT
{Continued from page 43)
hold," he said, "and so what was there for
them to do but fire me?"
His father then obtained a job for him
with a friend as assistant manager for a
theatrical company, and it was while work-
ing at this job that he decided to become
an actor, "because they made more money
than I was getting," he explained.
He traveled with the company, working
as business manager and jumping into un-
important roles when he was needed. His
ability to act and his popularity with
audiences increased simultaneously and at
the end of two years he found himself a
success on the London stage in the role of
Tommy in "Brewster's Millions."
Then along came the war, interrupting
his career just as it was nicely started. He
won't talk of the war; of his own injuries,
which put him in a hospital for thirteen
long months ; but those years made a defi-
nite impression on his character and left
their imprint on his face.
Thirteen months is a long time to lie in
a hospital ; a long time when all he could
do was think and think and think. It isn't
strange that things as unimportant as
temperament seem silly to him. One of the
most important lessons he learned during
that period was self-control.
With self-control he learned tolerance,
with the result that he considers the other
fellow's point of view as well as his own.
I happened to be at the studio one day
when he had an appointment for an inter-
view. It was a day when he was having
one of his very occasional holidays from
work and he had broken a personal en-
gagement to keep this appointment. He
waited until two o'clock but the reporter
neither appeared nor telephoned. Finally
he ate a solitary lunch.
"I'm sure something must have happened
to her," he said, and waited another hour.
Later the reporter appeared. She had met
with an accident on a country road miles
from a telephone. Marshall agreed to an
appointment for a later date. Not a word
was said about his ruined holiday.
HOWEVER, don't think, from that in-
cident, that he can be pushed around
or made to do anything he doesn't want
to do.
He has learned how to live gracefully
and how to get the most out of life. When
he says "kicking up a row takes too much
energy" he means just that. It is much
easier, he has learned, to gain your ends
by less spectacular methods. I had an op-
portunity to see how this worked out in
one instance.
When he signed his new contract, he was
assigned one of the star dressing-room
suites. When I went to the studio to see
him he had just moved in, the place hadn't
been cleaned up after the last occupant,
and things were in a bit of a mess, as he
would say. Unlike many another star, he
made no demands. He moved in and waited.
We had barely sat down when there was
a rap on the door. A studio decorator had
come to ask if Mr. Marshall would like his
suite done over.
"Oh, if I might have some covers put on
this furniture," he said eagerly. "Some
loose covers of some gay material."
He said it with the manner that the
decorator was doing him the greatest per-
sonal favor in the world and just as though
he couldn't pick up the telephone, call the
front office, demand satin upholstered walls
and other luxurious furnishings and get
them.
"And there are two of these dressing
tables with mirrors," he continued. "I
don't need two, but both mirrors are
cracked and it's most depressing to look
at yourself in a cracked mirror. And some-
thing at the windows?" he suggested ques-
tioningly.
"Would you like Venetian blinds, Mr.
Marshall?" the young man asked.
"Oh, say!" the actor replied enthusi-
astically. "That would be terrific !"
It would be my private guess that by
now he has the smartest dressing-room at
the studio.
Before he left he told me of his hopes
to visit England after another picture or
two.
"I'm going to England to get a look at
it," he said. "You know how Americans
are. They live here all their lives and
never see the Grand Canyon. Well, I'm
that way about England. I've never really
seen my own land. I've always been too
busy."
Judging by the way producers rush him
from one picture to another, it doesn't look
as though he will see it soon.
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110
and who told her daily how lucky she was
to have him, she found herself being forced
into a back seat, both as an actress and
as a woman. It was, to put it bluntly,
seven years of stooging.
They never went out, court was held at
home, and there were only the husband's
old vaudeville friends to pay him homage.
When Barbara made a picture, as she did
occasionally, it was with the enforced atti-
tude that it was only a side-line, only for
pin money. Naturally her career suffered,
but deeper than that went the destruction.
Every woman needs a certain amount of
attention, a certain amount of mental
cuddling and patting, a certain amount of
"position" both in the home and out of it
to keep her ego at a proper level. These
were all things which were lacking.
WHEN Barbara finally emerged from
that dark existence, it was, as she
once put it, "like the first day when she'd
been released from the orphanage." That
was when she was about twelve. It was some
holiday's outing : out from cold dank walls
into the limitless sunshine. When Barbara
stepped out into the sunshine of Holly-
wood freedom and airiness it was like that.
Like a little girl who had escaped pigtails
and black and white checkered gingham,
and was going for a great glorious walk
into the open.
But can't you imagine that a little gjrl
who has been in an orphanage all her life
finds the world rather startling, is a little
amazed and benumbed about it, and doesn't
quite know how to act? That was what
happened to Barbara in 1936; an older,
but still a little-girl Barbara.
Which brings us to the second important
line on her picture. Barbara in those days
was not only drab-hearted, but she was
also ungracious ; one of the most ungracious
girls who ever ungraced a Hollywood
gathering. That first gathering which she
attended is well-remembered by a friend
who says that "Barbara was in that pe-
culiar kind of state known as corner-sitting.
She just sat there and nobody could get
her out of it. Even civil conversation she
ignored. For example, you'd say, 'It's
been a nice day to-day, hasn't it?' and she'd
say, 'I don't know. I wasn't out in it.' It
wasn't that she meant to be like that, it
was just that she was strained and self-
conscious and she didn't know what to do
about it."
Yet it was on that same evening that she
met Robert Taylor. It is still a mystery
to the world, and to Barbara too, consider-
ing the unpleasantness of her mood, how
he ever happened to be attracted to her.
But perhaps that was it. Besieged and torn
apart by flagrant flappers at every turn,
perhaps it was exactly this unresponsive-
ness which looked good to him, although
those of us who know Bob a little better
are rather inclined to hand him more of a
bouquet on the matter. Bob is not the fly-
by-night, light-and-laughter young man he
is sometimes made out to be. There is a
stalwartness in him some people don't know
about. Looking through and beyond the
flippant "so-what" mask Barbara was
wearing, he saw a harmonizing stalwart-
ness there behind that mask, and it was
something he had been looking for.
The result was the first date Barbara
had ever had with a man since the end of
her marriage. The result of that result
is that up until this moment Barbara has
never had another date with anyone else.
Bob's frankness and directness made
him, in the beginning, a welcome figure in
Barbara's life. Back there at the time of
her new stepping-out into the world she
had been beaten down, and then along came
this young man, the idol of millions, to
build her up. That phrase, "idol of mil-
lions," is used, incidentally, only as an
explanatory phrase in connection with
Robert ; it is not in the least explanatory
of what happened to her. While aside
from the fact that Bob's attentions were
flattering in the eyes of other people,
because he was and still is the romance
man of the hour, it wasn't this which meant
so much to her. It was because he was a
fine, clean young man who adored her, who
not onlj' didn't mind letting her know
about it, in a thousand little gestures, little
words, Httle ways, but didn't mind letting
the world know about it either.
For the first time in seven years, she
knew what it was to hear a man say, "Gee,
I like your hair that way. That's swell.
It looks awfully pretty." Or, "Good girl,
you wore my favorite dress again." Or,
"Barbara, where would you like to go to
dinner?" Little things, but with big mean-
ings. Barbara found herself being impor-
tant again.
Because she was important now to some-
one else, she was becoming important to
herself, and that was what she needed.
Slowly, and by degrees, that chip lost its
balance on her shoulder, then it slipped and
fell altogether. Barbara left it somewhere
along the road, behind her, because the
new Barbara was making fast strides along
that road, away from the dark abode where
once she had been hiding.
There are concrete things, too, to show
how she has blossomed — such a trite word,
but in this case the only one that adequately
describes the process. There is her atti-
tude toward clothes, for example, and
jewelry and perfumes and furs, and all
those outer things which nevertheless in-
dicate the degree of femininity and senti-
James Stewart tries to do an
Astaire in Ginger Rogers' pic-
ture, "Vivacious Lady." Gin-
ger looks doubtful, but Jimmy
will convince her, we know.
MODERN SCREEN
Joan Blondell plays a lady
detective in "There's Always
A Woman," and she just can't
get that suspicious look out
of her eyes.
mental care in the inner woman. Barbara
used to be a perennial headache to all of
the fashion experts in town who were
sometimes required to outfit her for publi-
city and fashion pictures. We say "some-
times" because requests for Barbara dis-
playing the smartest and latest of this and
that weren't very many or very frequent.
Her reputation as a lazy, slip-shod model
was already too well known. She had this
reputation because that was her viewpoint
toward this type of work.
"Oh, so you want me to give it this!"
she would say belittlingly to the over-
wrought photographer who was merely
trying to get her to tip her hat at a more
sophisticated angle, to swing her hips a
La Hawkshaw isn't afraid to
hold the magnifying glass up
to nature. If all sleuths looked
like Joan, crime would cer-
tainly pay.
little to the left, or maybe it was an even
smaller matter of just wetting her lips.
"Oh, so you want me to be a Glamor Girl
— well, how's this?"
"No, not like that, Barbara, please. Don't
kid it, please. Oh, Barbara!"
T T was always hopeless, not only the
poses, but the type of clothes she in-
sisted on wearing. "Don't make me out a
movie queen," she would say, ordering a
whole bunch of hot-from-the-designer cre-
ations back to the wardrobe department.
"What's the matter with this little num-
ber I'm wearing? It's not very new, I'll
admit, but I've never worn it before. Save
those other things for somebody who's got
Joan twirls her moustache,
sticks out her little finger, and
prepares to show up Philo
Vance, Charlie Chan, and
Mr. Moto.
the style. I just haven't and I know it."
But this situation is no more, as the
fashion editors of many a publication will
testify. They want more and more- photo-
graphs of Barbara. And she hasn't spruced
up on clothes just to please a new-found
public. Barbara has had public before. It's
something she has done because of Bob.
Not directly perhaps. It was not anything
ever mentioned between them, but when
she saw that he noticed things about
clothes, she naturally strived to please him
on this subject.
For example, she discovered that he ad-
mired tailored suits on women. An exclu-
sive Hollywood tailor had a new customer
shortly afterward. Another thing, Barbara
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112
had never worn jewelry in her life. Bob
gave her some, a bracelet, a watch, several
rings. On the occasion of the first gift,
Barbara said in a frank outburst, because
she never does or says anything any other
way, "Oh, Bob, I'm not the type !"
"What do you mean you're not the
type?" he returned in the same manner.
"To me, you're beautiful and lovely and
you decorate my life. I don't know why
you shouldn't be decked out a little."
All right, and she wore it. Now the
dangling bangles on her arm are a symbol
of the new, lighter and happier tinkle in
her personality.
Part of this tinkle may also be ascribed
to the influence that Bob's own special
graciousness has also had in her life. Dur-
ing those seven years she had been em-
barrassed on so many occasions that friends
and a social life were absolutely denied
her. Not only because of her husband's
peculiar behavior, but he had made a ruling
that she should never have any friends of
her own. Now you may also understand
what it meant to her to be suddenly es-
corted by a man who, because of his gentle-
manliness, his sociability and his own
personality-grace, was welcomed and wanted
everywhere. In the presence of such pleas-
antness, Barbara couldn't help relaxing,
and bringing forth some of her own. The
association brought her a marvelous new
gaiety. In her heart, as well as in her
actions, she became at ease.
Naturally, in the beginning, there were
those in town who said that Barbara was
going around with Bob only for the publi-
city that it gave her and that once she
had gotten hold of him she'd never let him
go. Knowing Barbara and knowing how
completely naive she is, how unsuspecting
of maliciousness in others, it is quite cer-
tain that the existence of this attitude never
even occurred to her. But Bob, being per-
haps a little more open-eyed and open-eared
about such things, may have heard about
it, and it is he who has finally succeeded
in putting a stop to it. If you had ever
seen them together at some small party you
would know what we mean.
It isn't that Bob is gushy and demonstra-
tive with her. But suppose they are start-
ing to leave, and a last minute discussion
comes up, and they come back into the
room. Barbara sinks into a chair. Bob
sits down on that chair's arm, his arm
lightly on the back of it. Or maybe they
are just idling in the doorway over those
last few goodnights. He stands behind her,
with his arms boyishly and affectionately
encircling her. It's not that usual type of
Hollywood familiarity at which anyone
might take offense. It's only a touching
and enlightening tenderness-indication be-
tween them. Still on some occasions there
have been more wide-spread and far-flung
expressions of this feeling. Barbara laughs
a little in confusion when she tells of those
across-the-ocean phone calls that Bob made
to her from London when he was there on
his "A Yank At Oxford" picture a few
months ago.
What happened was this. The first tirne
he called, he shouted at the top of his
lungs as though he worried for fear she
couldn't hear him. "I love you! I love
you !" the vibrant, enthusiastic voice sang
across the world. Later, after the excite-
ment of those few moments had passed,
Barbara realized that trans-Atlantic calls
are not very private, that anyone on any
boat or anyone with a particular kind of
short wave receiver could pick up every
word they were saying. She cabled him a
warning saying that probably the whole
world was listening in and to be more
careful in the future. But the very next
night he called again, and there it was,
the very same message, the very same
words, only if anything, shouted even more
{Continued on page 114)
10< AND ZOf
'at leading
S & 10* STORES
Either the Best
Dressed Wo-
man is setting
a new style in
overdraperies,
or else Kay
Francis is pro-
tecting her
dress with an
apron as she
reads the script
of "Women Are
Like That."
MODERN SCREEN
IS YODR BEAUTY PROBLEM HERE?
{Continued from page 57)
something just out of touching distance.
THIS is a good exercise, too, for adding
shape to a waistline which is pretty
much straight up-and-down: stand erect
with hands on hips. Bend your upper body
to the left, and at the same time do a side
left kick, keeping your leg straight ^ and
your knee stiff — iffen you can. Do this to
music whenever possible. Having been
practicing what I preach, I find that "Bei
Mir Bist Du Schon" is simply swell for this
— kick and bend on "mir" and again on
"schon" — in that tempo.
The above are figure faults which are
fairly typical, I think. The rest of this ar-
ticle will be devoted to case histories —
notes I've made on average folks I've ob-
served. And if you recognize one of your
faults or mistakes here, maybe my sug-
gestions will help.
Girl with thin face, long nose — you get
a rough idea of what I mean in Sketch
IV. She had dark hair and it was pulled
back from her forehead and tucked behind
her ears. Her dress had a V-neckline.
Nothing — but nothing — could be "wrong-
er." A short bang, or at least soft waves
pressed down to conceal the hairline
(which wasn't good, ennyhoo) would have
taken attention away from the long nose.
The bang would widen the face. Her
rather thin mouth might have been im-
proved by widening the curve of the up-
per lip just a trifle. Her brown eyes were
really beautiful, but obscured by lack of
eyebrow grooming. Eyebrows do obscure
or set ofif the "windows of your soul."
She had a Latin look — probably Italian
or Spanish descent. I've observed that
most Latin-American gals are apt to do
their hair in too severe a style, probably
because their mamas and grandmamas
kept to their nationality's slick hair-do. It
shouldn't be so. Only true beauty or great
chic can get away with ultra-severe coif-
fures. One needn't go to the other ex-
treme, and blossom out in tight waves and
ringlets. But there are such things as short
center parts, soft, flattish curls emphasizing
the width of the face, and an upward trend
to the back hair, to get away from that
pulled-down effect. Okay to show the tip
of the ear, but not the entire ear. And a
boat-shaped or base-of-throat neckline is
much better than a V for a thin face.
The girl whose salient face faults are
illustrated in Sketch V was potentially
kinda cute, but she did nothing whatever to
enhance her charms. She did everything to
detract from them. Features — not much.
Nose a bit bulbous at the tip, but not an
ugly nose. Simply a run-of-the-mill nose.
Mouth very small — not much could be
done about it in the way of enlarging it
with lipstick, but this girl need not have
made it up in the old Cupid's bow style,
which is as out of date as the corset cover.
Her eyes were rather small and deepset,
but well spaced. However, nothing was
accomplished in the way of improving these
windows of the soul by the over-plucked
eyebrows, placed entirely too high above
the eyes, and painted, so help muh, black
as ink when the gal's coloring was medium
blonde. The brows should have been
trained down closer to the eyes, by brush-
ing and oiling, and should not have been
plucked at all, except perhaps for strag-
gly hairs near the nose. They should have
been pencilled brown, and lengthened a
little bit at the outer edge, to give the eyes
the illusion of greater size. And eye-
shadow should certainly have entered the
picture — to shadow the whole lid, increas-
ing in depth a little toward the outer side,
and all blended in very cleverly, of course.
'Twas the hair-do, though, that really
got me down. It was high, and wide, and
not very handsome. With a small face,
and small, rather insignificant features
(though the face as a whole was pleasing),
this kid had shwooshed her hair out in al-
most an old fashioned pompadour style. An
old fashioned, wooden marcel, with the
ends finished in combed-out, rather messy
curls — oh dear ! Before you ask where did
I see this wench — in the Ark? — let me tell
you I see many similar hair-dos. Perhaps
not quite so bad, but at least, far too bushy,
or over-curled and over-permanented, and
quite lacking in the closer, smarter, more
ladylike style which is rapidly becoming
popular. Another thing : this girl had a
low forehead, and like many similarly fea-
tured, she had thought to give height to
her forehead by taking all the hair off'n it.
The opposite trick gives the desired effect :
cover part of your forehead, and keep the
public guessing how low or high this fea-
ture of yours may be.
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113
MODERN SCREEN
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114
MUTUAL BENEFIT flSSI.
{Continued from page 112)
loudly and more enthusiastically. Bar-
bara's "sh's !" were unheeded.
Thus, from this small anecdote you may
judge that it is only her "yes" which is
lacking to make this twosome a marriage.
Her delay may seem quite incomprehensible
to the millions of Taylor's female wor-
shippers, but it's to be remembered that
Barbara is no ordinary girl, and she has a
knack of being able to see both sides of a
question. She doesn't believe that a mar-
riage for Bob is what his fans would want
right now. She has said honestly. Which
evidences her acceptance of that old Holly-
wood rule that while there's no wife,
there's still hope for the legion of a movie
man's admirers.
IN respect to her naivete, there is a
further example in that same recent court
hearing over the little boy. When Barbara
went to court to fight for the right to be
the sole custodian of her child she was
totally unprepared for the introduction of
Bob's name into it. She felt that Bob's
name had no place in the case, that he had
nothing to do with her life as Mrs. Fay,
and since she always fights by fair rules
herself, she had no thought that the fight
might be conducted otherwise. Then, on
the second or third day of the hearing,
Bob's name hit the headlines too.
It was brought in by the opposition.
They put her on the stand to have her
admit that he was a frequent visitor at her
house, but Barbara insisted that this had
nothing to do with it. ' If was a blow to
her, and she was heartsick that they should
thus side-track the issue. Bob took it all
graciously and kept quietly and calmly at
a distance. He begged her to believe that
it didn't upset him a bit, and in the end
the calmness and quietness of his attitude
did more than anything to ease the hurt.
If it hadn't been for him the reopening of
an old wound would certainly have put
her back in the same bitter state
from which he had once rescued her. In
every big crisis then, as well as in the
small daily ones he has been just as surely
a blessing to her, in pulling her out of an
old life, as she has been helpful to him in
advising him on how to get established in
a new one.
So you can see that there has been a
"give" and a benefit on both sides, and that
is what makes their love story such a full,
rich one, and one which is more surely to
be continued, installment after installment,
a story without end. Everywhere you turn
now in this town, you hear people comment-
ing on the Stanwyck-Taylor association
which has withstood even a separation of
four months while Bob made his trip to
England, and always you hear the phrase,
"Well, he's certainly lucky to have her!"
We mean that she's a true-blue girl who
has been a help to him rather than a hin-
drance. In a town of gold-digging and hot-
house forced-plant marriages, she is a re-
markable exception. It's time now that we
also begin to exclaim that she's lucky to
have him, and not just because he's hand-
some, and wealthy and successful, either.
That, as we hope we've made clear, is only
the smallest part of the story. The big
part of the story may be found in the new
steady glow in her eyes, in the accentuated
verve in her acting, and in the new feeling
of importance and superiority she nurtures
in her heart. A woman has to have that
to be happy, and it is through Bob, his
fineness and his tenderness, that she has
won this new capacity.
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MODERN SCREEN
PRESTO CHANGE-0
(Continued from page 51)
As her waist line tapered down, she ap-
peared to take on height. This slender,
chestnut-haired, quietly poised young lady
bore little resemblance to the rollicking,
wide-eyed blonde who had married Lew
Ayres.
"I realized that for the first time in my
life I was thoroughly enjoying life," ex-
plained Lola. "It had taken quiet and study
and normal living to bring out the real Lola
Lane. The other Lola, in her eagerness to
appear a sophisticate, had put on a gay
front that did not belong to her inner self."
Lola now commenced gathering together
a wardrobe to suit her new personality.
Plain, expertly tailored suits became a pas-
sion with her. A beautiful mink coat did
away with numerous evening wraps. A pair
of silver fox furs was replaced by a smart
skunk cape. Woolen and silk tailored slacks
replaced other informal attire. Lola became
clothes conscious and style conscious, until
today one of the head designers in the
movie capital has listed Lola as one of
the ten best dressed women in Hollywood.
At the end of seven months a new Lola
Lane walked into the office of her former
agent announcing that she was ready to go
out after the kind of parts she had always
wanted to do.
Once more Lola commenced making the
rounds of the studios. She was compli-
mented on her smart appearance, but con-
tinued to receive offers to do ingenue parts.
It seemed impossible to break away from
the roles in which she had been typed.
"I turned down several fat parts," said
Lola. "I was determined never again to do
an ingenue. I didn't care how small the
part, if it had a bit of real acting in it.
There were days of heartbreaking experi-
ences. Finally I was offered a small part
in 'Marked Woman.' Here was something
I could get my teeth into. I signed up."
T OLA'S next picture was opposite
' Ramon Novarro in "The Sheik Steps
Out." This was her first experience in
playing comedy. The swell job she did in
portraying the spoiled daughter of rich,
doting parents, resulted in her being signed
for "Hollywood Hotel."
And now with a series of "Torchy Blane"
pictures ahead of her, it looks as though
Lola has carved out a new career for her-
self.
"I was never more contented and happy,"
said Lola. "With mother, Rosemary and
Priscilla living out here my life is very
full."
When Lola's two sisters, Rosemary and
Priscilla, came out here last summer, under
contract to make pictures, they took a house
high on a hill, overlooking San Fernando
Valley, about a mile from Lola. For the
first time since she was a little girl, Lola
has a part of her family near her. There
are two other sisters. Leota is in New
York_ studying for Grand Opera. Martha,
who is married, is out here now with her
little girl on a visit.
Lola, Rosemary, Pat, and Cora, their
mother, call themselves a closed corpora-
tion. Their work, business and daily doings
are freely discussed among themselves, but
never beyond their own immediate circle.
All are called to sit in on important de-
cisions. There is no jealousy, selfishness
or dissension among them. All are for one.
One is for all.
Lola is determined that "the kids," as
she calls Rosemary and Pat, wjll make no
mistakes. Her knowledge of the "whys"
{Continued on page 121)
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115
MODERN SCREEN
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I CArct ihodo dtilrtd: PEACH □ RACHEL □ BRUNEITK □ I
116
I COULD eat twenty million miles of
spaghetti, but I'll eat some spinach, on
account of my mother's so good to me."
This statement is pretty indicative of
Spanky McFarland's outlook on life.
He's darned philosophical about every-
thing. Anybody who's simply nuts
about spaghetti, but will deign to toy
with a filthy weed like spinach must
fundamentally have a sense of balance.
This is further evidenced in his atti-
tude towards his new-found stardom.
When asked if he'd like a star's dress-
ing room, he emphatically replied,
"Heck, no. They've always given us
kids clubhouses and I like 'em." (The
dressing-rooms of the "gang" have al-
ways been called clubhouses.) His use
of the word "us" is indicative. Never
I, always us. But he feels his leader-
ship in quite another way, however.
He's head of his gang, and don't think
he isn't ! After all, he's belonged to
this gang for years now, and why
shouldn't he be its rightful leader?
And, as with all chiefs, it's not all
honor and glory, sweetness and light,
or what have you. He feels it incum-
bent upon him, to settle all internal
strife, sometimes resorting to fisticuffs
to enforce his mandates. He has a
typical boy's room which he shares
with his brother. It has a berth-like
arrangement of beds. Blackboards and
school desks, with a fine collection of
guns. He likes all the things most kids
like — dogs, ice cream, games and of
course, he has a girl.
Yes, it's the blonde in the gang. But
also, like all regular guys, his yen in
this direction is strictly on the q. t.,
and he won't talk about his heart in-
terest. Time enough for that later on.
He's a natural as a comedian. Even
his entrance into the Hal Roach Studios
smacked of the ludicrous. He had made
his artistic debut as an ornament on a
bread^ wrapper, and some astute sales-
man figured, that if his pan had so much
sales appeal, it would be further height-
ened if the lisping voice could be heard
in a frantic appeal for more of this par-
ticular bread. And that's where Fate
stepped in. For an aunt of Georgie
McFarland's, who had been reading of
Hal Roach, glorifier of American kids,
brought this advertising reel to his at-
tention, which resulted in a trip to
Hollywood for Baby Georgie.
During the first interview, as so often
happens, Baby refused to do any of his
cute tricks for Massa Roach. Small
wonder he couldn't be interested in this
grown-up conversation, for he had dis-
covered a most intriguing gadget on
Mr. R.'s desk — which had fine shiny
jiggers, which, when pressed down by
Mr. Roach, brought forth voices from
nowhere, just like that.
So while Auntie and Mr. Roach
carried on, Georgie Porgie seized his
opportunity and all the shiny black
jiggers all at once, and with one mag-
nificent click, was amply rewarded with
several hellos in all sorts of voices. Al-
though this delighted Georgie and
amused Mr. Roach, not so Auntie. She
rushed over and, slapping the infant's
hands, scolded, "Spanky! spanky 1" So
SPDN
SPAN
BY MERLIN
PIERCE
Meet Spanky
McFarland, the
leader of the
"Gang," who
could pass up
spinach, but
doesn't!
MODERN SCREEN
another nom de movie was born. And
private Spanky McFarland is now Gen-
eral Spanky. Not bad for five years in
any man's army.
AFTER HE became an old-timer of
two-and-a-half or thereabouts, he toddled
off the set one day and went visiting a
couple of other comedians, Laurel and
Hardy. As befitting a good trouper, he
stood by silently watching. As a climax
to a sequence, Hardy did his famous
"double take." You know, that wide-
eyed stare directly into the camera. This
fascinated our young hero and he clapped
his hands gleefully and chortled: "Ba-bee,
ba-bee." It takes a baby to recognize a
baby stare, and so to this day big, lum-
bering Oliver Hardy is much better
known as "Babe."
But the incident was not closed for
Spanky. The next day they were shoot-
ing Spanky in a sequence where he had
some business with a trick pack of
cigarettes representing a toy gun. The
director was satisfied and was going on
to something else, but not so Spanky. He
indicated he'd like to do it over, so out
of curiosity, they complied. He repeated
his previous performance up to a cer-
tain point, then, with perfect timing, he
calmly faced the camera and did a per-
fect Hardy double-take ! Ba-bee ! So
he's a showman as well as a comedian.
A visitor to his set is most impressed
with the complete lack of professionalism.
On location at a golf-course nearby, the
Gang seems more like any bunch of kids
getting together in a corner of the mea-
dow for a nice quiet blood-curdling game.
This atmosphere is carefully maintained
without any obvious effort on the part of
director or crew. Mothers of the young
performers, sitting around under the trees
with their knitting, do nothing to dispel
Darla Hood and Spanky go to
school every day and drink
their milk as all good little
girls and boys should. The
girl-friend pours while Spanky
gets ready for the first sip.
the homely, bucolic charm of the picture.
Between shots, Spanky runs over to a
nearby tree where a huge turtle is sunning
himself. He has done some of his most
amusing scenes off the set with this lazy
pet. In fact, many of his best perform-
ances have been caught by the camera
with Spanky all unawares. One day when
he was four, he was regaling his pals
with a highly imaginative story, with
gestures, about a rat who swallowed a
monkey. Someone caught him as he was
at the point of showing how the monkey's
tail persisted in hanging out of the rat's
mouth, which obstacle was surmounted
by the rat simply going F-f-f-f-t (the in-
take noise his favorite spaghetti makes).
This has always remained one of his best
performances.
While recently performing, Spanky
blew up in his lines. Truly a phenomenon
for this seasoned trouper. His poise in
this emergency was indeed interesting. He
just stopped short, looked into the camera
a long moment, then went over and sat
on the grass nearby. There was the slight-
est look of disgust on his face, then
Director Newmeyer said :
"Got it, Spanky?" and he nodded and
went through it perfectly. Some of our
adult stars could well take a lesson from
Spanky.
Just now our Spanky is really upset. He
has two purportedly thoroughbred Scottie
puppies, Sandy and Inky. But it seems
their legs just grow and grow and Spanky
is beginning to feel there's something
wrong somewhere. So, if he seems a bit
worried when next you see him on the
screen, you'll know that leg-growing
trouble is still afoot. Even a big movie
star like Spanky has his troubles!
Here's a Queer Way for Many Skinny Gjrls
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117
MODERN SCREEN
New beauty for
your hair . . . wLtk
ikb new
4 Purpose
Rinse
Lovalon, the 4 Purpose
Rinse does all these four
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4. Keeps hair neatly in place.
Use Lovalon after your next shampoo. See
the life and sparkle and healthful, youthful
glow it gives your hair.
Lovalon comes in 12 different shades. You
can match and enrich the natural color of
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Lovalon does not dye or bleach. It's a pure,
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Package of 5 for 25(4
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YES — TUMS, a remarkable discovery
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Try TUMS today. Only 10c for 12 TUMS at
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mm
TUMS FOR THE TUMMY
IN ACID INDIGESTION
THE BEWILDERING BRADY
{Continued from page 58)
like doing. Liking fizzy beverages she was
asked whether she didn't think they were
bad for her and she said, "I am the health-
iest person in the world and I haven't had
a glass of water in six years !"
She has always done what she wanted
to do. Her father, famed theatrical pro-
ducer, William A. Brady, didn't want her
to go on the stage in spite of his own
tremendous theatrical interests. In spite of
the fact that the famous Grace George be-
came her step-mother, he kept her, as a
child and a very young girl, away from all
talk of and contact with the theatre as well
as theatrical people. But Miss Brady wanted
to go on the stage. Her first public appear-
ance was at a ship's concert when, at the
age of thirteen, she was on her way to
Europe with her father. Having made se-
cret arrangements with the ship's entertain-
ment committee to "appear" she rendered
one of Caruso's favorite records with the
fine operatic style, the famed, florid gestures
of the great tenor himself. She had learned
the Saint 0 by playing the Caruso record
over and over. Her unsuspecting father,
in the audience, was first stricken with sur-
prise, then stormed by the applause and the
expressed opinions that "the girl is a
genius."
And so to the stage, musical comedies,
Gilbert and Sullivan operettas, and then,
her father capitulating, the producer in him
conquering the father's protest ; as Meg in
Little Women, as a star in Forever After,
and a long line of successful plays. And
Broadway paid its tribute and legal tender
to a great dramatic talent. Which talent,
now lost to Broadway, both Broadway and
Mr. Brady mourn ; but must continue to
mourn because Miss Brady will not go back
to Broadway.
Miss Brady lives, to be flagrantly face-
tious, a dog's life. But literally. There is
Checker, a Cocker spaniel ; Lavinia Manon
(named after her role in "Mourning Be-
comes Electra"), a Scottie ; Desire, a wire-
haired terrier ; Drunky, another wire-haired
and Snooky, a poon dog. Now I'm sure I
don't know what a poon dog means and
Miss Brady is sure that she does know
what it means. But she didn't seem able to
explain other than to say that she had
rescued the poon from the pound and that
poon seems to fit a dog rescued from the
pound !
MISS BRADY is, at heart, more tragic
than gay. She told me so. She is
inclined to be morbid, or rather to find a
strange pleasure which is also pain, in
dwelling on morbid things. There was once
a ghastly murder in New York. Two wo-
men, bitter enemies, met in the elevator of
their apartment house. One stabbed the
other through the heart. And the dying
woman said, "Why, it's gone right through
me!" Years ago and yet. Miss Brady says,
she has never been able to forget, to cease
to dwell on the stark simplicity, the in-
credible incredulity of those last words !
But she has, also, a philosophy of life,
the philosophy commonly called Fatalism.
She believes that what is to be is to be, and
what to do about it? Nothing. Therefore,
you can do what you choose about it, laugh
or cry. She chooses to laugh.
For there have been shadows over the
life of Alice Brady. Her own mother,
Marie Rene, a French dancer, died when
Alice was three. Her young brother died
when she was very young. Her marriage to
James Crane lasted only two and a half
ill-fated years and could have left a scar,
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no cutting ... no pads
RELIEVE CORN PAIN QUICKLY'
If you want to remove those aching corns >
just get a bottle of FREEZONE from any 1
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A bottle of FREEZONE costs a few cents I
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FREEZONE
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Many Never
SUSPECT
Cause of
Backaches
This Old Treatment Often Brings Happy Relief
Many sufferers relieve nagging backache quickly,
once they discover that the real cause of their trouble
may be tired kidneys.
The kidneys are Nature's chief way of taking the
excess acids and waste out of the blood. jMost people
pass about 3 pints a day or about 3 pounds of waste.
Frequent or scanty passages with smarting and
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An excess of acids or poisons in your blood, when
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Get Doan'a Pills.
MODERN SCREEN
and probably did. Her half-brother was
burned to death a little more than two years
ago. Yes, one has the feeling that there are
secrets buried in Alice Brady's heart a.nd
memory, bruises on her spirit, but buried
deep because the will that buried them is
stronger than the secrets and the pain.
"All comedians." said Miss Brady, "are
sad of heart. They have to be or they
couldn't give to comedy the macabre touch
it needs."
Her childhood, however, was happy and
normal, though carefully chaperoned. For
which she is, now, very grateful. "At least
I wasn't satiated before I was out of my
'teens," she said. A cousin, a kindly wo-
man of middle years came into the house-
hold upon the death of Alice's mother.
Later, of course, Mr. Brady married Grace
George to whom Miss Brady refers, af-
fectionately, as "Mom." There was a town
house and a country place and the small
Alice attended a convent school in Madison,
New Jersey. She had her own pony and
cart and plenty of books and affection. But
,she was, even then, always wondering what
it was all about.
She is, now, very pleased to be "doing
"my own work again." She is grateful to
Mr. Zanuck for giving her the opportunity
to do the kind of thing she does do, most
naturally, most instinctively. She said, "I
have pleaded with producers for six years
to give me dramatic roles. But, no, they
couldn't see it.
"When I did my first comedy role in
'Mademoiselle,' I hadn't the foggiest notion
of how to be funny. I didn't know what
on earth to do. I just thought I'd flap my
hands about even more than normally and
'talk silly.' I did— and I've lived off of it
for six years. But I never have any idea
of what I'm doing, or why."
She has erratic bouts of mad extrava-
gance. She told me, "I spent thirty-seven
thousand dollars in the first six months I
-was in Hollywood. What on? I haven't
the least idea ! Scents and furs and things,
you know. I'd just go down to shop every
single morning and stand there in the middle
of the . place and think, 'Now, let me see,
what can I buy today?' And then I'd just
shop and shop. After all, I don'^t play
tennis, and I had to do something !"
Now Miss Brady has a manager and is
not allowed to so much as make out a check.
She does, however, she told me happily,
manage a little leeway for herself now and
then by telling him that she has to have
money to send to her little son back East
in school. "You know how children are,"
she tells him. "Always needing sornethipg."
Now and again, she manages to ring in a
diamond ring for herself.
SHE loves to "do" houses, her surround-
ings being important to her. She spent
four months planning and decorating the
dining-room in her home, peacock blue
walls, lovely reflecting mirrors. She sent
to Venice for the crystal chandeliers and—
has used the dining-room twice in the six
months she has been in the house. She does
think it a pity that the Venetian treasures
came so far to be so seldom appreciated.
She never takes exercise. "Exercise,"
she laughed, "is decadent." She never goes
anywhere. She has lived in Hollywood for
six years and has never been to Palm
Springs.
She doesn't gossip. She lives and lets
live and keeps to the letter as well as to the
spirit of this law. On the sets, you never
find her sitting on the side lines gossiping
between scenes. She is either on the floor
shooting crap with some of the stage hands
or she is in her dressing-room, taking the
only sound sleep she ever gets.
She admits to a very bad temper.
Franciska Gaal of "The Buccaneer" is making "Never Say Die."
119
MODERN SCREEN
"My Secret of
Eye Make-Up"
by
GENEVIEVE TOBIN
Lovely Star of Stage
and Screen
FIRST— USE NEW LOTION
TO MAKE EYES
. CLEAR, WHITE,
^ LARGER LOOKING!
DON'T forget the most important step
in eye make-up . . . clear, white eyes,"
says Genevieve Tobin, popular film star.
Dull, tired eyes can ruin the efifect of the
most careful eye make-up. That's why thou-
sands begin eye make-up with two drops of
Eye-Gene, an eye specialist's formula. It
makes eyes that were reddened, veined,
dulled by late hours, reading, fatigue, expo-
sure, so clear and sparkling white . . . and
therefore larger looking! Try Eye -Gene.
Double eye beauty! Purse size at all 5 and
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EYE-GENE
WiU Your Hands
Stand This Test?
If Not . .
You need to get acquainted with
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Beautiful hands are essential to
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Sold in drug, department,
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...Use
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Another NADCO Product
Her motto in life is : Never stand up
when you can sit down ; never sit down
when you can lie down; never just lie
down if you can lie down and sleep.
It is because Hollywood allows her to
be "a mushroom," to live pretty much ac-
cording to her motto that she is in Holly-
wood. She will never, she stated with fire
and emphasis, go back to Broadway.
We argued with her. We reminded her
of her "art," of those rare souls who starve
in attics, enduring all things, that their art
may be preserved, intact, free from com-
mercialism. "Such people are cursed,"
laughed Miss Brady. "I am thankful that
I am not so cursed. I am the laziest woman
in the world. People think of me as fierce-
ly energetic, furiously ambitious. I am not.
I have , a pleasant house here, my dogs,
books, friends, work to do. What more is
there? Tell me that !
"I enjoy making pictures. I take them
seriously when I am working because I
take any work I am doing seriously. But I
like to be comfortable. I like to sit with
my feet up on a chair, like this. I like to
be able to go out without wearing chin-
chillas up around my eyes. You can't wear
chinchillas up around your eyes in Holly-
wood. You have to have big buildings for
that. I'm not happy. Of course not. No
one but an idiot is really happy, do you
think? But I am content with leading," she
laughed, "my dog's life."
A great personality, Miss Brady, doing
a dizzy sleight of hand with the masks
of Comedy and Tragedy, blending one into
the other as they have been blended into
her ■ own life. An example, becoming al-
most extinct, of the cultured aristocrat of
the theatre, a woman who, regardless of her
work, her "art," makes the world richer,
more exciting merely by what she is.
A bride can't sit down, so some
great mind at the studio in-
vented this wrinkle-proof gad-
get for Rochelle liudson to
relax in.
MERCOLIZED^CREAM
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Mercolized Wax Cream flakes off the surface skin
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Use Saxolite Astringent Daily
npHIS tingling, antiseptic astringent Is dellght-
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in one-half pint witch hazel and apply.
Try Phelactine Depilatory
For quickly removing superfluous hair f romf ac e.
Sold at cosmetic counters everywhere.
ANY COLOR
LIGHT BROWN to BLACK
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Good For Kidney
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Weakness
LOOK AND FEEL YOUNGER
All over America men and
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120
MODERN SCREEN
PRESTO CHANGE-0
(Coiitimied from page 115)
and "wherefores" of this fantastic business
has smoothed over many a rough spot for
her sisters.
While all three girls have good singing
voices, dance well and have what it takes
to play leads, each personality is decidedly
different. Each has an outstanding talent.
With Rosemary it is her singing. Pat is
the finished dancer, while Lola is the dra-
matic actress.
The one thing that all have in common
is a swell sense of humor and love of fun.
Birthdays call for big celebrations. It is
then that each tries to outdo the other in
gag gifts, tricks and surprises. All packages
are approached warily. Elaborately wrapped
boxes often prove to be gags. The plainest
package usually holds the important present
— the gift of the three of them to the fourth.
No matter how tired she is after a hard
day at the studio, Lola drops in to see Cora
on her way home. Sunday is reserved for
the Lane family to get together. At dinner,
at Lola's or Cora's, the four of them sit
down to a specialty of Cora's. Their favorite
is fricassee chicken, just as Cora always
prepared it when they were youngsters at
home.
Today Lola has a new understanding and
appreciation of life. Rarely is she seen out
in public. Occasionally she goes into the
Brown Derby for lunch. On rare occasions
she spends an evening at the Trocadero.
T WANT to go on working in pictures
as long as I am able to work," said Lola.
"Happiness to me means independence, work
and, of course, success.
"Work in pictures satisfies all of my
longing for romance, glamor and change.
Outside of an occasional trip to the nearoy
mountains, the desert and New York, I am
content to settle down in the valley.
"At present I am considering plans for
my own farmstead to be built on my own
acreage not far from where I now live. As
much attention will be given to the grounds
as to the house. There will be extensive
vegetable gardens, fruit trees, berries and
a profusion of flowers.
"I will never give up my career. The
glamor and excitement surrounding my
work will be nicely balanced by the quiet
and rest in my peaceful valley home."
Jane Wyman is mighty pretty
in that hunting outfit-^but she
looks Uke fair game to us. Jane
gets the lead opposite Johnny
Davis in "The Chump."
BLUE
When it's swingtime and dancetime, she'll never be lonely again.
What a difference since she discovered Blue Waltz Perfume! There's
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Perhaps yoU'd find greater happiness, too, if you'd remember to say
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June Modern Screen tells you
WHY GABLE IS KING
Yes, there's a reason!
HOW YOU CAN
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New Modern Method
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STUDY
FASHION MODELLING
The "Hollywood Way"
Attractive girls and women learn to be a
glamorous fashion model. Send 10c in stamps
for Booklet A.
ANNE ARDIS. Box 422, Hollywood, Calif.
STARS of Stage and screen, and fas-
tidious girls everywhere, prefer
Sitroux Tissues, because they're soft
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they won't "come apart" in the hand.
Give your skin better care with these
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^ Af Your 5 and 10^ STOREJJ
121
MODERN SCREEN
Finely arched eyebrows
enhance the loveliness of the
eyes . . . Rely on HENCO Tweez-
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Ask for HENCO Tweezers and
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Fremont, Ohio
Fine Cutlery for 50 Years
iO
WHILE YOU SLEEP f
Whether you have a few freck-
les or many, fade them out
quickly and gently while vou
sleep. Get a jar of Nadiriola -v
Freckle Cream today and apply at bedtime. Day by
day skin becomes clearer, fresher. Usually freckles
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122
f I
These core the legs that are
supposed to shame Dietrich.
Martha Raye is the owner,
Ben Blue the critic.
REVIEWS
{Continued from page 23)
**The Girl Was Young
Gaumont British presents Nova Pilbeam
in "The Girl Was Young," which, in itself,
is in the nature of an understatement. For,
Nova Pilbeam is far too young to be
entirely convincing as a clever sleuth.
However, her charm and sincerity tend to
offset the fact that she plays an adolescent
too tragically precocious.
Here, again, we have that much over-
worked situation of an innocent youth sus-
pected of cold blooded murder. Needless to
say, when Erica Burgoyne, the chief con-
stable's daughter, administers first aid to
revive the apparent assassin, her limpid
eyes at once overflow with true love and
in the end brings the real culprit to justice.
As_ the heroine, Nova Pilbeam brings a
serious quality to the role which almost
overshadows her unsuitability to it.
Derrick DeMarney, as Robert Tisdall
who is caught in a web of circumstantial
evidence, gives an impressive performance.
Even though "youth will be served," top
honors, in this production go to the char-
acter actors. If you are among the many
who have wondered what's become of Percy
Marmont, you will be pleased to find him
here in the role of the Constable. Playing
the role of the girl's father with his cus-
tomary ease and conviction, he does much
to insure interest.
Edward Rigby as Old Will, the china
mender who puts the finger on the real
murderer, gives a very creditable perform-
ance proving that even a friendless bum
may have a heart of gold.
While there is something to be desired
in this picture, it will no doubt prove
popular through its theme and characteri-
zations. For, a movie mystery is apt to be
a good entertainment bet, and, a movie
mystery with real acting thrown in, worth
your cash at the box office. Directed by
Alfred Hitchcock. — Gaumont British.
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RELIEF fo JO'
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MODERN SCREEN
BEST GRAY HAIR
REMEDY
IS MADE
WHY let prematurely gray hair make you look f fir
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Simply get from your druggist one-fourth ounce
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Compound. Mix these in one-half pint of water, or
your druggist will mix it for you. This colorless
liquid will impart a natural-like color to faded, gray
hair. This color will not wash out, does not affect
permanents or waves, will not color the scalp, and adds
to the beauty, luster, softness and youth of your hair.
If you want to look ten years younger in ten days
start with Barbo today.
Do This For
BLACKHEADS
They Fall Right Out!
■D LACKHEADS persist because
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WAKE UP YOUR
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The liver should pour out two pounds of liquid
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GOOD NEWS
(Continued from page 90)
DON'T
Meanies
Af the moment. Gene Autry and Republic
Studios are still shooting it out. When he
couldn't get an adjustment on his contract.
Gene walked out and went on a personal
appearance tour which was netting him
$3,500 a week when a studio injunction
halted it. Now he's on a sit-down strike, and
refuses to work until he gets more money.
Facts are that Autry, whose pictures draw
top money for westerns, makes eight pic-
tures a year and gets only $5000 for each
of them. The profits on his pictures war-
rant a larger salary, but the studio contends
that a contract's a contract.
We still think the tops in lovers' quarrels
was the Nelson Eddy — Eleanor Powell
squabble in "Rosalie." To keep a date
with her in far-of¥ Ruritania, Nelson
makes a solo flight across the Atlantic.
Angered when he learns she's engaged to
another guy, he turns right around and
flies back, making Lindbergh — and every-
body connected with "Rosalie" — look silly.
Chivalry, Farewell
Romance, in the movies, still goes hand
in hand with assault and battery. In other
words, if the hero says he loves the girl,
and she tells him the same thing, audiences
immediately know they don't mean it. But
let him sock her on the jaw, or let her
break some china on his profile and every-
one knows that theirs is a true and lasting
love. Latest example is in "Love, Honor
and Behave." Wayne Morris is about to
lose his wife (Priscilla Lane), but he comes
home one night, blacks her eye and knocks
her down. Love surges in her breast, and
she crowns him with a chair. And we re-
member the good old days, when the guy
who socked the heroine was the villain.
Those who see the stars in their least
glamorous moments are the gals in the
studio wardrobe departments. If a star
has temperament, the wardrobe department
is usually the place she turns it on. All
of which leads up to an unofficial vote
taken in the wardrobe department at 20th
Century-Fox. Most popular star: Sonja
Henie. Least popular : Simone Simon.
Wayne Morris gets a shiner
from Priscilla Lane — it's
"Love, Honor and Behave."
^DISFIGURING BLEMISHES
NOW SO EASILY
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Apply HIDE-IT on the blemish. Let dry.
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123
MODERN SCREEN
Lovely Loretta Young has her night with young
Mr. Alfred Vanderbilt, who craves constant
change.
The Adolphe
Menjous, once
wan and ailing,
look positively
abloom as they
escort Josephine
Hutchinson to
the preview.
At the "Gold-
wyn Follies,"
Kay Francis,
smiling in
spite of legal
troubles, wel-
comes the Dick
Barthelmesses.
Making her American screen debut, An-
nabella won the approval of a preview au-
dience with her performance, but her appeal
was not at all heightened by the fact that
her French accent made some of her lines
impossible to understand. And for the
same reason, the meaning of some of her
lines was distorted. For example, in one
scene she turns to Bill Powell and be-
wilders him and the audience by saying,
"Don't bite the hand that fits you."
Fashion Note
When the Cedric Gibbons' left on their
trip to Africa, eleven of their trunks were
filled with brand new gowns for Dolores Del
Rio. Mr. G. also took along a trunkload of
camera equipment, with which he hopes to
photograph African wild life. Can't you
picture the lovely Dolores, in Schiaperelli's
latest, perched fetchingly on the carcass of
a hippo?
Out on the 20th Century-Fox lot is a
trailer which is the last word in that sort
of thing. It's Darryl Zanuck's reconcilia-
tion gift to the Ritz Brothers. The Ritzes,
of course, have added a touch of their
own. Over the door a sign says : "Through
these portals pass the most beautiful boys,
in the world." What ivill they do next?
124
Stop Worrying
Speaking of the desirability of raising
children in Hollywood, Stuart Erwin's press
agent quotes Mr. E. as follows: "People in
the East who fear that film colony children
will come under an evil influence are wast-
ing their worry. In the 10 years I've been in
Hollywood I've seen hundreds of babies
grow into healthy and mannerly children."
Note to those people in the East: Stop your
worrying,
■ ■ ■
Myrna Loy has just finished redecorat-
ing her dressing room at Metro. It's all
"blonde," because Myrna has always wanted
to be one herself. The other dav she in-
vited the cast of "Test Pilot" to a "pre-
meer" of the new room, but most of the
attention was focused on a gift from Arthur
Hornblow. It was a Capehart which
matches the decorations.
was wreathed in smiles. But no one knew
whether it was because of the picture or
because she had attended the preview with
her first date. The lucky swain was Jackie
Moron, the film's Huckleberry Finn.
. ■ ■ ■
After the incident in Arizona, when he
hurled shoes at a crowd assembled to greet
him, Warner Oland and his studio are
more at odds than ever. The great Chinese
detective- drew a suspension when he walked
out on his last picture, and the studio
promptly substituted the Japanese sleuth,
Mr. Motto. So now there's a wild rumor
around that Oland's next will be "Charlie
Chan at Loggerheads."
All for Art
Tom Sawyer
Interesting to watch the reaction of the
audience at the preview of "Tom Sawyer."
If was hardly a "Hollywood" type of pic-
lure, yet it brought cheers from such effete
gents as Fred Astaire and Sam Goldwyn.
Mrs. Ossip Gabrilowitch (daughter of Mark
Twain) wept silently, and Deanna Durbin
Richard Greene, the young English actor
billed as a cross between Tyrone Power
and Robert Taylor (that's nice double bill-
ing, if you ask us) is still a bit baffled
about Hollywood. Rushed here for the lead
opposite Loretta Young in "Four Men and a
Prayer," he was first fitted to a brand new
wardrobe, his English clothes having been
declared n. g. for picture purposes. Next
he was taken over by a make-up expert,
who said, "Let's see your teeth." In Holly-
wood, perfect molars come before Art, even
if you're a second Clark Gable.
Prlnletl in the U. S. A. by Art Color Printing Company. Dunellen. N. J.
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tUNDREDS OF INTIMATE PICTURES!
Mm.
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MODERN SCREEN
A
NN TOOK A CHANCE ON A 6ATH ALONE
Ann ^«PP^° "h'lbuteven
spoil her good umes.
■d from
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Underarms need special care that
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tion—that it can't prevent odor to come.
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©CIB 378006
MAY -5 !938
MODERN SCREEN
Unguentine is the first thought in first aid
...it doesn't hurt a hurt, but soothes it
and relieves the pain. There's no hurt
either, when the Unguentine bandage
comes off, for it doesn't dry
and stick to the wound.
Yet Unguentine is positively
and effectively antiseptic. Rub
it into the skin to relieve the
itching and burning of ec- ,
zema; spread it thickly on a |
bandage for burns and f
injuries. The standard tube
is only 50(f. ; the economical
family size jar, $1.00.
MODERN SCREEN
Copyright, 1938, by Dell Publishing Co. inc.
Resina Cannon Editor
Leo Townsend Hollywood Editor
Abril Lomarque Art Editor
NOW SHOWING
GARBO FINDS LOVE
WHY GABLE IS KING
NEARLY NATURAL
WHAT'S ALL THE SHOUTING FOR?
HER STAND-IN MADE HER A STAND-OUT
DICK POWELL TAKES THE STAND
FANNY'S FOLLIES
RUNNING AWAY FROM IT ALL
SLAVES TO HOLLYWOOD
BAD MAN OF BURBANK
ONE VILLAIN COMIN' UP
FOREIGN FLAVOR
HOW TO WIN MEN
HAND IT TO HALEY
KICKING OVER THE TRACES
SHORT SURJECTS
24 MARTHA KERR
26 GLADYS HALL
28 NANETTE KUTNER
30 IDA ZEITLIN
32 JAMES REID
34 GLADYS HALL
36 GEORGE BENJAMIN
38 CAROUNE S. HOYT
40 A MOVIE TRUE STORY
42 FAITH SERVICE
44 MARY PARKES
45 ROBERT MclLWAINE
46 MARY MARSHALL
48 BEN MADDOX
50 MALCOLM OETTINGER
REVIEWS
8
FILM GUIDE
MALE ORDER DESSERTS
10
STU ERWIN'S FAVORITES
OUR PUZZLE PAGE
12
MOVIE X-WORD
INFORMATION DESK
14
ANSWER PAGE
NECESSARY KNITS
16
NEW PATTERNS
PORTRAIT GALLERY
19
OF YOUR FAVORITES
OFF THEIR GUARD
51
CANDID SHOTS
GOOD NEWS
64
GOINGS-ON
SUMMER STARTERS
72
FASHIONS
BETWEEN YOU 'N' ME
92
PRIZE LETTERS .
Modern Screen, No. 301773. Published monthly by Dell Publishing Company,
Incorporated. Office of publication at Washington and South Avenues, Dunellen,
N. J. Executive and editorial offices, 149 Madison Avenue, N. Y. Chicago, III.,
office, 360 N. Michigan Avenue. George T. Delacorte, Jr., President; f-|. Meyer,
Vice-President, J. F. Henry, Vice-President; M. Delacorte, Secretary. Vol. 17,
No. 1, June, 1938. Printed in the U. S. A. Price in the United States, $1.00 a year,
10c a copy. Canadian subscriptions, $1.00 a year. Foreign subscriptions $2.00 a
year. Entered as second class matter, September 18, 1930, at the Post-office,
Dunellen, New Jersey, under act of March 3, 1879. Additional second class en-
tries entered at Seattle, Washington; San Francisco, California/ and Houston, Texas.
The publishers accept no responsibility for the return of unsolicited material. Sole
foreign Agents: The International News Company, Ltd., 5 Breams Building, London,
E.C. 4, England. Names of characters used in stories and in humorous and semi-
fictional matter are fictitious. If the name of a living person is used it is purely a
coincidence.
4
MODERN SCREEN
Out of the inferno of war came three men and a
woman — to live their lives, to strive for happi-
ness, to seek love . . . The most heart-touching
romance of our time, brilliantly re-created upon
the screen, from the world-renowned novel by
the author of "All Quiet on the Western Front".
ROBERT MARC-ARET
TAYLOR SULLAVAH
FRANCHOT ROBERT
TONE YOUilfr
^ ^ in Metro-Goldwyn-Mayer's Vivid Drama of Today
with GUY KIBBEE- LIONEL ATWILL- HENRY HULL
A FRANK BORZAGE Production • A Metro-Goldwyn-Mayer Picture
Directed by FRANK BORZAGE • Produced by Joseph L Monkiewicz
Screenplay by F. Scott Fitzgerald and Edward E. Paramore
5
with
ERROLI
FLYNN I
OLIVIA DeHAVIILAND- BASIL
RATHBONE CLAUDE RAINS ;
PATRIC KHOWUS • EUGENE PAILETTE '
ALAN HALE-MELVILLE COOPER I
IAN RIINTER-UNA O'COKNOB i
Directed by Michael Curtiz and William Keighley
Original Screen Play by Norman Reilly Raine and Setoo |
I. Miller 'Based Upon Ancient Robin Hood Legends' Music by j
Erich Wolfgang Komgold • A FIRST NATIONAL PICTURE i
NOW PAINTS
THEIR DASHING DEEDS TO LIVE FOR THE AGES!
Loving, roistering, battling . . . blazing
their deeds of daring into the legends
of the world! History's most beloved
rogue and all his merry men come
fighting again for Richard, King of
the Lion's Heart! Come galloping out
of their outlaws' forest to storm and
take forever the castle of romance!
The Adventures of
ittty
mm
★★★★Mad About ^"fi'i.esUn.e.
J M.out Music IS we
De»» -'^Sr "^Sfe* JS^^^^^ .".nfe
Deanna P^f-y^^se mo^'^e '^"^ !^r-,ssed because her b ^^^^
Switzerland because^^ ^teTr parerits, f.p"o\s m far,
teen-year-oW Q = i^o'^\ ifplseH teUing of ^s exp
constantly get epistles to lierseU ^long about tMs ^g-
and writes leng > Marshall l^^pP ^^tVier. Atter
off P^^«^- . to find himself """^^^fthemselves and « ^^^^d>
iUrrsetences. fArron^ ^s^ea-a^s re^id.^^ °^ ^
^^=Most impressive .f f tuave and charm™^-
"Ave Mana OiJ^^^^ Ma'^tpatrick lends sympathy «>
★★★★ B uebeard s c«y
' a- triple triu-P^ JfofV to^L
This one amounts to aJ;3^Hem .^
Sways to be ligW foundation fo *e^^^ , s^ ^
the plot- ^^^^^ . f uMr. Deeds <joes charm-
t^p story. .-uip exception of ^ir ^ ^gtte ColDeri jtmg
Wi?h the PO^^fLsf screen work, =^^%Seth Patter-
Directed oy ^
★★★Rebecca oj ^'^^tl'^tl^^^^^^
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Shirley Temple ^^^^ft^'^.ncial security .,ess to be pa^
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8
BY LEO TOWNSEND
MODERN SCREEN
"Once I was a lady of leisure — with nothing to "Now I model elothes — at a shop "Naturally 'certain days' are worse than others.
do but go to parties if I felt like it . . . take it easy
if I didn't. But those days are gone forever! It was
in the cards, I guess. You know the saying — 'Fri-
day's child is loving and giving . . . Saturday's
child works hard for a living.' That's me!"
where I used to buy them ! And whew !
— the weary miles we models trudge!
Up and down . . . back and forth
. . . shoulders back, 'tummy' in,
head high!"
But I soon learned from the other models how to
make those days a lot easier! They introduced me
to Modess — and, believe me, when you're on your
feet all day, a napkin that doesn't chafe makes
a world of difference!"
"If you'd like to know why Modess
is more comfortable . . . just cut a pad
in two. Feel that filler! It's like the
down on a duck! So soft and fluffy—
entirely different from napkins made
of crepey, close-packed layers."
"And — how much safer! Prove it for
yourself. Take the moisture-proof back-
ing from inside a Modess pad and drop
water on it! That will show you why
you need never worry again about ruin-
ing a dress ... or being embarrassed."
"Then — if you're earning your own living and have to
count the pennies, as I do . . . here's some more good news.
Modess is easy on the pay envelope! Honestly — for all its
greater comfort and security — Modess costs no more than
any other nationally known napkin! So — take a tip from
me and buy yourself a bo.x of Modess today."
IF YOU PREFER A SMALLER, SLIGHTLY NARROWER PAD, SAY "JUNIOR MODESS"
"Stu" Erwin's whole family
prefers pie. Look. No wonder.
WELL gals, gather 'round, for I've just
collected recipes for three of Stuart Erwin's
favorite desserts, along with further proof
— if proof were necessary — that if you leave
the choosing of the meal's last course to
the man of the family the "male order" for
dessert will be pie nine times out of ten !
Yes, at home or in a restaurant, leave the
choice up to him and he'll specify some
form of tempting filling encased in rich,
flaky pastry.
Stuart Erwin is no exception in this
respect, according to his lovely wife, who is
still remembered by all of us as "the charm-
ing June Colly er." But June is more than
content these days to be known just as
"Stu's" wife and the mother of his two fine
children. Bill and Judy. In fact the joy of
her life lies in catering to their every wish.
That being the case you can be sure that
the Erwin cook is instructed by June to
prepare pies at most frequent intervals for
the all-important sweet course of the day's
most important meal. This is a year 'round
standing order. However, when the warmer
days set in, the only pies that make their
appearance at the festive board in the
Erwin's attractive dining room are of the
lighter textured one-crust variety such as
ever popular "cream" pies.
"This type of dessert is especially good
when there are small children in the
family," June informed me as together we
searched through the family recipe file for
the pies that had won the family's highest
praises.
"You see," she continued, "even a toddler
like Judy can eat the creamy filling that
goes into making the Butterscotch Pie that
I'm giving you, even though she isn't sup-
posed to have the crust. But whether served
as a pie or as a pudding I can certainly
say that this particular dessert is a great
favorite with the entire Erwin family.
BY MARJORIE DEEN
"My pet pie in its early stages is just a
smooth custard, such as any small child
can enjoy. But when fixed up with straw-
berries and cream for guests and older
members of the family, it turns out to be
the richest and most beautiful of pastry
desserts."
Since this particular treat happened to
be in the refrigerator at the very time that
Mrs. Erwin was describing it to me, we
made a point of photographing June's pie
before we took the picture of the entire
Erwin family caught in the act of enjoying
its Spring-like, delicious flavor. So here
you will find photographs and recipes, as
well : given with a special thought to in-
creasing the "male order" business of
appreciation for your knowledge of cooking
and catering.
Incidentally, to make an . attractive pie
shell, try shaping and baking it over the
back of a straight-sided cake pan. (June's
pie shell, you'll notice from its shape in
the picture on this page, is made in this
way.)
JUNE PIE
% cup granulated sugar
5^ cup sifted flour
teaspoon salt
3 egg yolks, slightly beaten
2 cups scalded milk
54 cup unwhipped cream
1 teaspoon vanilla
lyi cups sliced strawberries
cup powdered sugar
1 baked (or graham cracker) pie shell
i/i cup cream, whipped and slightly
sweetened
2 tablespoons fine graham cracker crumbs
1 teaspoon granulated sugar
2 teaspoons melted butter
1 dozen whole, perfect berries, for
garnishing
Combine granulated sugar, flour and
salt. Beat in egg yolks. Slowly add
scalded milk. Turn into top of double
boiler and cook over boiling water for 10
minutes, stirring constantly for the first
5 minutes, frequently during the last 5
"Stu" Erwin's favorite pies would win u lienrt of stone. Don't say we didn't
10
MODERN SCREEN
minutes. Remove from heat. Add vanilla
and 54 cup cream. Strain into bowl, cover
and chill. Clean berries, slice thin and
combine with powdered sugar, allowing
them to stand for at least hour. Shortly
before serving time spread chilled custard
filling in baked (or cracker) pie shell.
Cover filling with the sliced, sweetened
berries. Spread slightly sweetened whipped
cream over the berries. Combine cracker
crumbs with teaspoon of sugar ; mix in
melted butter with a fork. Sprinkle crumbs
over pie. Garnish with whole berries. (See
illustration.)
BUTTERSCOTCH CREAM PIE
2 cups scalded milk
4 tablespoons cornstarch
3 tablespoons flour
teaspoon salt
1>4 cups brown sugar, firmly packed
2 egg yolks, slightly beaten
H cup cold milk
2 tablespoons butter
\y.'. teaspoons vanilla
4 tablespoons cream
1 baked pie shell
^4 cup cream, whipped
Scald the 2 cups of milk in top of double
boiler. Mix cornstarch, flour, salt and
brown sugar. Beat in the egg yolks.
Gradually add the cold milk. Add this
mixture slowly to scalded milk, stirring
vigorously. Add butter. Cook over boiling
water, _ stirring constantly, until smooth
and thickened (about 5 minutes). Cover
and continue cooking over boiling water
10 minutes longer, stirring occasionally.
Remove from heat, add vanilla and 4
tablespoons cream. Blend well. Place in
a tightly covered bowl in refrigerator and
chill thoroughly. Just before serving spread
this filling in cooked pie shell. Top with
whipped cream, very slightly sweetened.
Don't spread a cream filling in your
pie shell any longer ahead of time than is
absolutely necessary, by the way.
warn you about these
Two J^tle ^lay (^uits
Qlimhed the y~{ilL..
Two little play suits climbed the hill —
One on Jack, and one on Jill.
Look at Jill's — so bright and gay!
But Jack's is full of tattle-tale gray.
For Jill's mom knows what Jack's does not —
That lazy soap just hasn't got
The pep to wash clothes really clean.
And that's why Jack's things look so mean.
If Jack's mom were as wise as Jill's,
She'd quickly cure her washday ills.
She'd get the golden bar today
That chases pesky tattle-tale gray.
Fels-Naptha Soap is what she'd buy —
So full of naptha, dirt riiust fly!
Then white as Jill's, Jack's clothes would be,
And as for mom, she'd shout with glee.
BANISH ''TATTLE-TALE GRAY"
WITH FELS-NAPTHA SOAP!
(NEW! Try Fels-Naptha Soap Chips, too!)
COPR. 1938, PELS ft CO.
11
MODERN SCREEN
OUR PUZZLE
1 |i 13 I* 15" I It 17 18 I |9 llo 111 I ItZ lis |1» IIT fTfc
tz
15
it
IT
to
■1
Puzzle Solution on Page 86
ACROSS
1.
6.
9.
12.
17.
18.
19.
20.
21.
22.
24.
25.
27.
28.
29.
30.
32.
33.
34.
35.
37.
39.
41.
42.
44.
47.
49.
52.
53.
First name of star pictured
" American Chump"
Last name of star pictured
"I Met Him in "
The Barrymores' sister
King : Fr.
Female sheep
Massey of "Rosalie"
One indii?erent to pain
Birth state of star pictured
Her first name's Elissa
Stella , newcomer
Female servants
Hero of "Night Spot"
Jes Matthews
Turf
Ruby ler
Male lead in "Women Are Like That"
H Gibson
Shade tree
Part of a skeleton
Spool on which film is wound
Geo Fielding in "Big Broadcast of 1938'^
Instrument used on cans
Sickly color
Dawn
Smaller
Femme star of "Merrily We Live"
Small surgical knife
55. Inhabitant of Arabia
56. Wife of Errol Flynn
57. Without a cover
61. Song-and-dance movie
64. Sandra , model
65. Restless
66. Author
69. Star of -'Wise Girl"
71. Exclamation
73. Rosemary, Priscilla and Lola
74. Javanese weight
75. Drink in small quantities
78. "Over - - - Wall"
79. Mrs. Bing Crosby
80. ry Crabbe
82. Comedian who died recently
84. Witness a movie
86. Trusts
88. Leases
90. Walt Disney's duck
92. Rugged crest of a mountain range
93. Vic LeRoy in "Dr. Rhythm"
95. Orchestra leader on Burns' and Allen's
airshow
96. Interior
97. Ands: Fr.
98. No: Scot.
99. Mary
100. Screen pairs
101. Born
102. r Gorin
103. Seasons
with
ROLAND YOUNG
JACK WHITING
BARRY MACKAY
Directed by SONNIE HALE • Music & Lyrics by
ARTHUR JOHNSTON and MAURICE SIGLER
@ Production
12
MODERN
SCREEN
PAGE
DOWN
1. Plateaus with steep sides
2. Yttrium sesquioxide
3. Erik
4. Hamilton
5. Genus including the moose
6. Robert strong
7. Weaving frame
8. Kay
- 9. Guides
10. Possesses
11. Affirmative vote
12. "Test ------
13. Winged
14. Cheerful musical compositions
15. Pertaining to a building's interior
16. Godly person
23. Knot
26. The "Yank at Oxford"
28. French
31. Star of "Knight Without Armor"
33. Animal skins
36. Our star's husband
38. Star of "Girl of the Golden West": init.
40. Each : abbr.
43. Author of "The Raven"
45. Indian of Tierra del Fuego
46. Real name of our star
47. Airships : coll.
48. Not likely
50. Colossal historical films
51. Supply arranged beforehand for succes-
sive relief
52. A player of small roles
54. Mae West wrote "Diamond - - -"
58. Go astray
59. Cheerful expressions
60. Bristles
61. Annabella's husband
62. Combined
63. "Souls At "
67. Printer's measure
68. Show a film
69. Star of "I'll Take Romance"
70. "- ' - No Angel"
71. Male star of "Merrily We Live"
72. Town of our star's birth
76. Jewell
77. Small ball of food
78. "The or"
79. Sinister looks
81. Small insect
83. Do nots : contr.
85. Paradises
87. Short article
88. Network of nerves
89. Protuberance
91. Our star's "Thin Man" name
93. Comedian in "You're A Sweetheart"
94. Gladys rge
ROCHELLE HUDSON
20th Century-Fox Star
Half and Half
The smooth fitting half-skirt
of this Lastex Wisp-o- weight
suit gives maillot-slimness to
the hips. Jantzen-spun wool
and Lastex yarn . . . ^CJ
Other Jantzen Creations
$4.95 to $12.95
The Suit of the Future-
JANTZEN
Lastex Wisp O Weight
The miracle of Lastex knitted into Jantzen fabrics by a new and
exclusive process has made obsolete all former standards of fit
and figure-control in water wear. Step into 1939 in a new Jantzen
Lastex Wisp-o-weight It's a year ahead, the suit of the future. It is
wondrously light, exceptionally soft, rapid-drying. But more than
that— it fits you perfectly and makes you look better than any suit
you have ever worn. It has just the ideal ratio of two-way stretch,
molding your body in the natural lines of youth. It softens con-
tours, slims and slenderizes you, firmly yet comfortably.
Jantzen Knitting Mills, Portland, Oregon; Vancouver, Canada.
LASTEX WISP-O-WEIGHT SWIM SUITS
JANTZKN KNITTING MILLS. D,-pi. 161, Portland. Or<-po„
Send me style folder in color featuring new I'l.lS models. VS onien'sQ Men's Q
Name
Street
13
MODERN SCREEN
UNSIGHTLY HAIR
SPOILS YOUR CHARM
Rinse It Off This
Quick, Easy Way!
This season's shorter skirts . . . sheer
stockings . . . and modern bathing suits
. . . keep women's legs in the spothght.
See that yours are always smooth and
feminine. Avoid unsightly hair!
Simply spread NEET (like a cold cream)
on unwanted hair. Then rinse off with
water — that's all. NEET gently, safely
removes hair invis-
ibly close to the skin
surface. It leaves your
arms and legs satin-
smooth. NEET — used
by millions of women
— is easier and safer
than shaving.
Avoid Bristly
Razor Stubble
NEET eliminates bris-
tly re-growth that fol-
lows shaving — sharp-edged stubble that
may snag stockings. NEET ends danger
of cuts — prevents razor-roughened skin.
For lovely legs and arms — with no un-
sightly hair— get NEET to-
day! At your drug or depart-
ment store. Generous trial
size at all ten-cent stores.
NEET leaves your
legs like velvet-
NEET
Just Rinse Off
Unsightly Hair
Boost your lavorite player by sending in the coupon
ROBERT MONTGOMERY :
"So the poor little rich
boy had to go to work,
and years later he be-
came a famous movie
star." Yes, Robert Mont-
gomery (and that is his
real name) was born in
Beacon, New YorlJ, the
son of Henry Montgom-
ery, vice-president of the N. Y. Rubber Co.
When he was a youngster there were tutors
and exclusive schools — his prep-school days
were spent at the fashionable Pauling School
in Xew York, and he later studied in Eng-
land, France, Switzerland, and Germany.
When Bob was sixteen his father died
and young Bob suddenly found it neces-
sary to go to work. His first job was as a
mechanic's helper on a railroad. His next
one was as a deck hand on an oil tanker,
and the third was doing "bits" in a Faver-
sham show in New York. ' Then there was
work with a stock company in Rochester,
N. Y., and after that Broadway for five
years. Meantime Bob was offered a contract
in silent pictures and refused, but was
finally won over by the "Talkies." He did
one picture after another in quick succession
until he was made a star in "Man in Posses-
sion." Then followed a long list of starring
and co-starring pictures in which Bob's
brisk, breezy, sophisticated charm skyrock-
eted him into the first ranks of popularity
where he has stayed ever since. His most
recent picture is "The First Hundred
Y'ears." His next will be "Yellowback. "
Bob is just as popular off screen as on.
He shoots a good game of golf, and is one
of the best tennis players in the film
colony. He also plays a mean piano, and
sings a nifty tenor. He likes music by
Ravel and Irving Berlin, is an incessant
reader, and has written and published
many short stories. He likes Scottie dogs,
and has several of them. Bob's big ambi-
tion is to write and direct pictures. He is
happily married, and has two charming
small daughters. His birthday is May 21st.
He is six feet tall, weighs one hundred and
sixty pounds, has brown hair and blue eyes.
He takes his work seriously, is president of
the Screen Actor's Guild, and is an all
'round grand person to know.
ANITA LOUISE : This love-
ly blonde starlet first
saw the sun in the sky In
New York City on Jan-
uary 0th, 1917. She is
descended from mingled
French, German, and
English ancestry, and
her real name is Anita
Louise Fremalt. Botli of
her parents were born in Alsace Lorraine.
Anita was educated at the Professional
School in New York, and the Greenwood
School for Girls in Hollywood. Her first
ambitions were to be an actress and to
write music. She is beautifully accom-
plished at both the harp and the piano, has
a fine singing voice, and is a talented dan-
cer-. She also is adept at several foreign
languages. The tender age of seven found
Anita on the New York stage where she ap-
peared in a number of successful plays. She
was under contract to a major studio for a
whole year before a suitable role came
along. Then she went to work on the "Du
Barry" set. Anita is fond of all outdoor
sports, especially riding, swimming and
fencing. She doesn't know what it is to
have to diet, and she loves thick steaks and
roast turkey. She knows how to cook them
too. She follows her mother's recipes. Soap
and water are Anita's only beauty secrets.
Pretty clothes naturally appeal to her, and
she knows how to wear them. Hollywood
and New York fashions interest her much
more than those from Paris. Anita's home is
full of needlework that she herself made.
Flowers are a hobby with her too. She will
save diligently by doing her own hair and
nails, and then go on a cut flower spree,
filling the house with Briarcliff roses and
lillies-of-the-valley. Her lone pet is a
Scottie named "Wee Thistle." Anita col-
HAVE YOU SENT FOR
YOUR LIST OF. ADDRESSES?
Want to know your favorite player's
address? In fact, would you like to
have a complete list of all the Holly-
wood sfars' mailing addresses? It's yours
for the asking! So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan letter,
that we've compiled a complete list for
you, listing the players alphabetically,
according to their studio, and giving
their complete mailing address. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want it.
To receive one of these lists, all you
have to do is write to us and ask for
It, enclosing a large self-addressed and
stamped envelope. Don't forget that
last item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
14
MODERN SCREEN
lects rare coins and good luck charms. She
also prizes a very old piano and a two hun-
dred year old violin. This radiant young
star is five feet three inches tall, weighs one
hundred and six pounds, has light blue eyes
and very blonde hair. Her most recent pic-
tures include "Green Light," "The Go-Get-
ter," "That Certain Woman," "First Lady,"
"Tovarieh," and "Marie Antoinette." Her
next picture will be "Sister Act."
KAY CORRIGAN: No mere
accident catapulted Ray
Corrigan into the movies,
and into the hearts of a
growing Corrigan-con-
scious public. True, when
he was still a handsome
young student at the
North Denver High
School out. in Colorado
he thought some of becoming the world's
greatest electrical engineer. And the de-
vious ways of fate and stern necessity did
lead him through several subsequent years
of business in oil, radio, electricity, and
even physical education. But Ray had seen
Douglas Fairbanks pere do his dashing
athletic stunts on the screen, and right then
and there he had determined to perform a
few movie stunts of his own. He had the
makings, for he is six feet two inches tall,
weighs two hundred pounds, has laughing
gray eyes, dark brown hair, and he inherits
plenty of courage and brawn from a fine
mixture of French and German ancestry.
In fact his mother is descended from the
royal family of HohenzoUern. Ray studied
dramatics, did a .series of six plays for the
Hollywood Community Theatre, playing
heavies. Then in 19.32 his movie chance
came. They needed someone of .Johnny
Weismuller's physical appearance, and Ced-
ric Gibbons got Ray his first opportunity.
His first talking picture came in 19.34 when
he played Apollo in "Night Life of the
Gods." Then followed the "Darkest Africa"
and "Under Sea Kingdom" serials and
later the "Three Mesquiteers" pictures in
which he co-stars with Robert Livingston.
Some of his latest pictures have been
"Heart of the Rockies," "Trigger Trio,"
"Wild Horse Rodeo," "The Purple Vigi-
lantes," and his new one "Outlaws of So-
nora." Ray Corrigan was born February
14, 1907 in Milwaukee, Wisconsin". His
family name Is Benard. He likes to swim,
plays hand ball, and prefers to act In
Western pictures. He has twenty-one pat-
ents to his credit, of which he is very proud.
He is thirty-one years old — and, girls, he
isn't married !
Helen VValden, Los Angeles, Cal. Jon Hall
was born in Fresno, Cal. February 26, 1913.
His real name is Charles Hall Locker. Yes,
he does all his own swimming, and did all
the diving in "Hurricane" except the dive
from the cliff, for which a double was
used. You can reach him at United Artists
Studios. His next picture is to be "The
Cowboy and the Lady."
Blanche Kelly, Cincinnati, O. Griffith Jones
played Paul Beaumont, Maureen O'Sulli-
van's brother in "A Yank at Oxford." He is
English, over six feet tall, has a fine phy-
sique, and is an all-'round athlete, tennis
and riding being among his favorites. He
started out to study law, but switched to
the stage and later the movies.
(Continued on page 17)
INFORMATION DESK. MODERN SCREEN.
149 Madison Ave., New York. N. Y.
Please print, in this department, a brief life
story of :
Name
Street
City. .
State
If you would like our chart with weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
AN EXPERIENCED WOMAN
could have told her!
Neglect of intimate cleanliness may rob the loveliest
woman of her charm.. . Use "Ly sol" for feminine hygiene
ONE lesson life teaches a woman is
the need for complete intimate
daintiness.
A man wants to think of the woman
whose love and companionship he seeks
as his dream of feminine loveliness . . .
fresh and exquisite at all times. But,
without reahzing it, there are times
when even perfumes, baths and beauty
aids may fail to make you attractive —
if you neglect the practice of feminine
hygiene. Many experienced family doc-
tors know that this neglect has wrecked
the happiness of countless marriages.
Don't risk offending in this most
personal way. Be sure of complete
exquisiteness. Follow the "Lysol"
method of efficient feminine hygiene.
Ask your own doctor about "Lysol"
disinfectant. He will tell you "Lysol"
has been used in many hospitals and
clinics for years as an effective anti-
septic douche. Directions for use are
on each bottle.
Six reasons for using '■^LysoV for
feminine hygiene —
1— Non-Caustic . . . "Lysol", in the proper
dilution, is gentle and efficient, contains no
harmful free caustic alkali.
2— EfFeefiveness . . . "Lysol" is a powerful
germicide, active under practical conditions,
effective in the presence of organic matter
(such as dirt, mucus, serum, etc.).
3— Spreading . . . "Lysol" solutions spread be-
cause of low surface tension, and thus vir-
tually search out germs.
4— Economy . . . "Lysol" is concentrated, costs
only about one cent an application in the
proper dilution for feminine hygiene.
5— Odor . . . The cleanly odor of "Lysol"
disappears after use.
6— Stability . . . "Lysol" keeps its full strength
no matter how long it is kept, how often it is
uncorked.
Also, try Lysol Hygienic Soap for bath, hands
and complexion. It's cleansing, deodorant.
What Every Woman Should Know
SEND THIS COUPON FOR "LYSOL" BOOKLET
LEHN & FINK Products Corp..
Dept. 6-M. S., Bloomfielci, N. J., U. S. A.
Send me free booklet "Lysol vs. Germs" whicli tells llio
many uses of "Lysol."
Street-
City-^
-State-
Copyrisrht 19S8 by Loho & Fink Products Corp.
15
MODERN SCREEN
LOVE AT FIRST SIGHT— and Romeo couldn'i
forget the pulse-stirring fragrance that Juliet wore.
TODAY'S ROMEO CAN'T RESIST the magic
lure of Djer-Kiss — the exquisite fragrance that
becomes yours when you wear Djer-Kiss Talc.
START your day the Djer-Kiss way! Bathe
your entire body with this delightful
talc each morning. Djer-Kiss keeps you
dainty and refreshed all day . . . Helps you
stay cool, for it actually lowers body tem-
perature. Clothes feel more comfortable . . .
Makes you alluringly fragrant. Use Djer-
Kiss generously, for the cost is surprisingly
small. Buy it today at drug and toilet goods
counters— 25c and 75c sizes. Liberal 10c
size at all 10c stores.
The same deUghtf id fragrance in Djer-Kiss
Sachet, Eau de Toilette and Face Powder.
YOURS FREE— the exciting new book,
"Women Men Love— Which Type Are You?"
— full of valuable hints on
how to make yourself
more alluring. Just send
a post card with your
name and address to
Parfums KerkofF, Inc.,
Dept. Z, New York.
. . genuine imported talc
scented with Djer-Kiss
perfume by Kerkoff, Paris.
CPnonownced Dea/rKxu)
TALC
NECESSARY KNITS
BM 3703— The Brooks cardigan,
below, perfect for sports wear.
BM 3701— A tricky new stitch
makes your extra suit blouse.
IT'S A simple matter to knit yourself a
smart Brooks cardigan, and once you've
started wearing it, you'll see why this
classic sweater is the perennial pet of col-
lege girls and debbies. Straight stockinette
stitch and soft saxony yarn make the per-
fect combination of smart simplicity.
Or, if you prefer a dressier design and
a more elaborate stitch, then try your hand
at BM 3701. Two shades of yarn are used
to produce the novel pattern of this dress-
maker blouse, fascinating to follow as you
knit it up. An unusual detail is seen m
the slide fastener pull, which is finished
off by two little Darby and Joan figures,
made of the yarn. .
Free directions for both these designs
are readv and waiting for you to make
your selection. Clip the coupon and send
in your stamped (3c) envelope.
KERKOFF
lpiP'»ii)ii»!#Hnpii
ANN WILLS. MODERN SCREEN
149 Madison Avenue. New York, N. Y.
Kindly send, at no cost to me:
Knitting directions for BM 3703
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16
MODERN SCREEN
INFORMATION DESK
{Continued from page 15)
Phyllis wtite. New York. Stories about
James Stewart appeared in MODERN
SCREEN in August 1936, November 1936,
November 1937 and April 1938. Yes, many
scenes of "Navy Blue and Gold" were shot
at Annapolis.
Shirley Woodin, West Haven, Conn. Anna-
bella was born in Paris, France, and ap-
peared in many European movies before
coming to America. She is with 20th Cen-
tury-Fox Studios. Madeleine Carroll was
born in England, February 26, 1906. She is
with United Artists.
Martha W. K., Monroe, La. Mickey Rooney
was born September 23rd, 1921. His real
name is Joe Yule, Jr. His height and
weight being in constant process of change
it is impossible to give accurate figures.
Dolores Krajeski, Chicago, 111. Here are the
ages you asked for : Deanna Durbin is fif-
teen years old, Bonita Granville is fifteen,
Mickey Rooney is seventeen, .Jackie Cooper
is fifteen, Freddie Bartholomew is fourteen,
and George Ernest is sixteen.
Go Sam Suan, Cebu, Philippine Islands. Dick
Powell is six feet tall, has blue eyes and red
hair, weighs one hundred seventy-two
pounds. His last picture was "Hollywood
Hotel," next will be "Brooklyn Cowboy."
Marjory Adamson, Salt Lake City, Utah.
William Gargon is his real name. He was
born in Brooklyn, N. Y. July 17, 190.5. He
is married. His first picture was "Rain,"
his most recent, "You're a Sweetheart."
Enid Finn, Vancouver, B. C. Ronald Colman
is with United Artists Studios. He has been
married and separated from his wife. He
was born February 9, 1891 in England.
Robert Brenilett, Monroe, La. Ray Milland's
next picture will be "Tropic Holiday."
John Carradine was born In New York City,
February 0th, 1906.
Yvonne Kibet, Medford, L. I., N. Y. Robert
Taylor's real name is Arlington Brugh. He
was born August 5th, 1911. He is six feet
tall, has brown hair and blue eyes. "A
Yank at Oxford" is his most recent picture.
You can get his picture by sending twenty-
five cents in stamps to M-G-M studios in
Hollywood.
Mary Putt, Fort Wayne, Ind. Anthony Quinn
was born in Mexico. He is six feet two
inches tall, weighs one hundred eighty-flve
pounds, has black hair and brown eyes.
Three of his recent pictures are "The
Plainsman," "Swing High, Swing Low,"
and "Waikiki Wedding."
Kietta Hertwig, Brooklyn, N. Y. Victor Mc-
Laglen was born December 11, 1886. His
hair and eyes are brown. He is six feet
three inches tall, weighs two hundred and
twenty-five pounds. James Stewart is six
feet two Inches tall, has brown hair and
gray eyes. He was born May 20th, 1908. He
can be reached at M-G-M studios.
Doris Hill, Savannah, Ga. Robert Livingston
is twenty-nine- years old, and is married.
Stories about .Jean Harlow appeared in
MODERN SCREEN in March 19.35, April
1936, September 19.36, and February 19.37.
If you will send ten cents a copy to our sub-
scription department we will be glad to mail
back issues. A story about Gene Autry was
published in the October 19.37 MODERN
SCREEN. An Information Desk sketch ap-
peared in .Jul.v 1937. He was born September
29, 1907. The Lone Ranger's identity is still
a secret.
Helen Kratzner, Linden, N. .J. Spencer Tracy
is thirty-seven years old, weighs one hun-
dred sixty-five pounds, and is five feet ten
and one-half inches tall. Wayne Morris is
twenty-four years old. His last picture was
"The Kid Comes Back." His next will be
"Glitter." Eleanor Powell is five feet six
and a half inches tall.
Adele Watson, Birmingham, Ala. Nelson
Eddy is thirty-seven years old, weighs one
hundred seventy-three pounds, and is six
feet tall.
They give you Faces
HOURS waiting "on the lot". Dust
and dirt. The heat of Kleig lights.
Yet a screen star ... to retain her charm
and appeal . . . must be utterly fresh the
instant she steps before the camera.
Cigarettes face that freshness prob-
lem, too. They travel far to reach you;
and along the way they're beset by dry-
ness, dampness, dust. Yet a cigarette . . .
to retain its charm and appeal . . . must
be utterly fresh the instant you put a
match to it.
Hollywood spends a fortune to guard
the freshness of its stars. We spend a
fortune to guard the freshness of our
star . . . Double-Mellow Old Gold.
We put an extra jacket of costly
moisture-proof Cellophane around every
Old Gold package. Thus, double-wrapped
and double-sealed, Old Gold's mellow
prize crop tobaccos are protected from
staleiiess. Every Old Gold reaches you
exactly as we make it . . . and that's as
fine as a cigarette can be made.
TUNE IN on Old Gold's Hollywood Screcnscoops, Tues.
and Thurs, oiglits, Columbia Network, Coast-to-Coast
Here's why fho O.G. package keeps 'em fresh
tm
Outer Cellophane Jacket
Opens fronl the Bottom
Sealing the Top
The Inner Jacket Opens
at the Top
Sealing the Bottom
CopyrlBht. 1938, by P. Lorin.-u il Co., Inc.
MODERN SCREEN
0%^
1
Pollack and MitdieU's
tunefullest, swingm -
est, be^t!
feepers Creepers! WaitU
you see tkose Ritzes as
imitation on a
rampage in tke corn likker
country ! Tkey ve cooked
up tke con-sarndest mess
of fun since Grampaw
skot tke galluses off n tkat
revenooer! "Life Begins
In Coll ege was just a
warm-up for Puklic
Maniacs No/s 1, 2 and 3!
d th
ere s romance
...an
in them tkar kill si
Tony Martin as the singing
radio talent scout "discovers*
cute little Marjorie Weaver
in Coma« K.y . . . . and tkeyVe
been in a coma of love ever
^eince !
RITZ BROTHERS
KENTl/CKr
MOONSHINE
A 20//i Century-Fox Picfurewith
TONY
MARJORIE
MARTIN -WEAVER
Slim Summerville * John
Carradine • Wally Vernon
Berton Churchill • Eddie Collins
Directed by David Butler
Associate Producer Kenneth Macgowan • Screen Ploy by Art Arthur and
M. M. Musselman • Original story by M. M. Musselman and Jack Lait, Jr.
Additional Dialogue and Comedy Songs by Sid Kuller and Ray Golden
Darryl F. Zanuck in Charge of Production
Though Leopold
Stokowski is twenty
years her senior,
Garbo finds su-
preme happiness in
his companionship.
Has Greta Garbo a chance at
happiness? Here is the true
[ story of her big romance
FINDS LOVE
GRETA GARBO has found love at last. The First
Lady of Filmdom, who knew unfaltering devotion
through her affection for the late MaurLtz Stiller,
and who learned of the gayness of light romance
from the impetuous John Gilbert, now realizes, for
the first time, the true meaning of love.
Garbo herself has said, "Love is not really dra-
matic. It is what is behind love and romance that
gives us the greatest emotion. I don't know what
the greatest emotion really is. Perhaps it is sacrifice.
That is, of course, a big part of love."
And if sacrifice is needed as proof of her present
deep affection, it is evident. For, she has tossed
aside her most impoi'tant personal possession — her
deai"ly valued privacy — in defense of her feeling for
the famed musician, Leopold Stokowski.
Yes, Greta Garbo faced a battery of inquisitive
reporters in Ravello, recently, and confided that her
famous companion in their Italian retreat had offered
to show her some of the beauty of the world. The
fact that the woman more men have dreamed of
knowing than any other accepted the offer seems
proof enough of her great love for the rnan whose
association she has secretly enjoyed these many
months.
Garbo's. very few intimates have actually thrilled
to her newfound peace and contentment, for her life
has been punctuated with unhappiness and disaster.
She has known frustration and loneliness such as
has been the lot of few people. She has met dis-
illusionment through trust, and loss through death.
She has felt the cutting pain of broken confidences,
and the deep, dull ache at the removal of those few
who have been near and dear to her.
No, Greta Garbo's personal life has not been an
enviable one. But she has hidden the wounds from
the eyes of the world just as she has sought to keep
her persona] activities to herself. And so, it is only
just and right that she should at last find her measure
of contentment and happiness.
, The first inkling that her close friends had that
her attachment for Stokowski was a real and im-
iwrtant one was when he brought Deanna Durbin, in
24
whose picture he was apf>earing, to see Garbo. He
had talked often of this amazing child and Garbo
soon expressed a desire to meet her and hear her
sing. Word of the visit leaked out somehow and
accounted for Stokowski's absence from musical
and the more exclusive social circles of filmdom. He
was spending his free time in the company of Greta
Garbo.
The musician's recent divorce from his second
wife only served to add fuel to the flame of specula-
tion and tended to prove that he and Garbo had
plans for a permanent companionship. The fact that
Stokowski has been accused of being a publicity-
seeker and that, in this particular instance, no one
could pry from him a word as to the progress of his
friendship with the most famous of mo\'ie stars,
served again to give credence to his sincerity toward
their romance.
AT ANY rate, when all the speculation is over and
done with, one salient fact remains and that is that
Garbo and Stokowski have an "understanding,"
that he has brought her happiness and love and that
she would rather be in his company than in anyone's
else in the world. Yes, while Garbo's cry has
hitherto been that she wanted to be alone, it is now
that she wants to be alone with the one man in the
world who really matters to her.
Independence has somehow always been forced
upon this great actress ; that is, with the exception
of her association with the late Mauritz Stiller. She
learned to depend upon his affection, rely upon his
judgment. His devotion was the nearest approach
to security she has ever known — until now. No,
Greta Garbo has not wanted to be "master of her
fate and captain of her soul," although circumstances
have often seemed to tend to make her self-sufficient. •
Indeed, she is fundamentally the "clinging vine,"
the woman who prefers seclusion and the devotion
of a man \vliom she can love and respect.
It seems" as if, at last, this man has arrived and
Greta Garbo has taken, and plans to hold, the joy
that she has long been (Continued on page 109)
Even with strong com-
pefitiion from yonnger,
handsomer men, Gable's
still the tops— and here
is the reason
B T
GLADYS HALL
The artist's dream
of King Gable in his
crown — purely
imaginary, for he-
man Clark won't
wear it.
One horse who likes his work. If equines
could cast a vote, it's plain daek
would hove been king by one more ballot
Lombard and Gable can smile 'wHbien they sign
those autographs. It's "the common touch"
which keeps the crown firmly atop the head.
YOU HAVE elected Gable King of the Movies.
In a nationwide newspaper poll, twenty million votes
came in and — Gable wears the crown.
Just why?
The better part of twenty million people can't be wrong.
But it seems to us that they may be interested in knowing,
specifically, why they are right.
It's one thing to elect a man king from distances which
may lend enchantment. It's another thing to find that
your votes are ratified by the men and women who work
for and with your screen sovereign, who know him as he
is, not as he seems to be.
There is no better way of taking the measure of a man
than by talking about him with the people who work with
him : prop boys, assistant directors, his stand-in, the gang
with whom it is not necessary to "put on a show" but to
whose measuring, experienced eyes a man does show
what manner of man he is. No better way than talking
with his fellow actors who are also, remember, his keen
competitors.
And if you think that Hollywood doesn't dare to say
what it really thinks about one of its members you should
have heard what / heard when I collected opinions of a
certain famed woman star. They positively blistered.
I had, finally, to go to the star herself in order to hear
something pleasant about her! In Gable's case the re-
verse was true. I had to go to him and say "F'r crying out
loud, say something disagreeable aljout yourself, will ya?"
Yes, Hollywood crowns with laurels but it also crowns
with thorns when unpleasing is the head that wears a
crown.
On the M-G-M lot the other day, on the set of "Test
Pilot" in which Clark, Myrna Loy and Spencer Tracy are
co-starred, in triplicate, Spence came by as I was standing
around waiting for a word with Gable.
"Come over to see the King today, huh?" he grinned.
He sat down on a camera case only to rise at once, sweep
an imaginary hat to the floor, bow' low and declaim, "The
Queen!" as Myrna came, all quietly, to join us. Instantly
every voice on the set took up the cry, "The Queen ! Tli'e
Queen!" and knees were bent, heads lowered, one felt
that plumes went down before royalty.
Myrna pushed Spence back on the camera case, sat
down beside him and said, "This king and queen busi-
ness, we'll never live it down, it's terrific."
Spencer said, "Well, speaking of the King, saving your
presence, Ma'am, he is terrific. You can't defeat him.
13ecause he lias a swell sense of humor, a great sense of
humor."
"A lovely thing, in kings," murmured Myrna.
"So great," went on Spencer, ignoring the roval inter-
ruption, "that you couldn't kill it, not by flattery, nor by
success, nor even by failure."
Said Myrna, "Spence is right, it's the spirit of the man,
the high, healthy spirit of him that buoys everyone u])
and himself along with the rest of us. I would "feel lost
and low if Clark didn't have a new story for me every
morning when we meet on the set. He's sort of like a
little boy, you know, an awful tease. But he's also a
kind-hearted little boy who never goes too far. For if
the Ki — if Clark thinks his cracks are going to upset
you he'll stop." {Continued on page 74)
27
Charm of a child — Come on now, every- Can't you just hear Do I have to sing it
art of a veteran. body, sing! that sweet voice? that way?
NEARLY NATURAL
BY NANETTE KUTNEB
SOMEBODY MUST have told Deanna Durbin not to
talk. Somebody must have cautioned her about inter-
views, must have said, "Be careful to act natural."
This advice has left Deanna, innately a wholesome un-
affected girl, so puzzled and terrified, lest she utter the
wrong words, that whenever I asked her a question, her
blue eyes widened, her brown head lowered, and the fore-
finger of her right hand automatically stroked her tiny
nose, while that strong voice of hers lost its amazing
grown-up quality, becoming childlike in its bewildered
helplessness, as she bemoaned, much in the manner of
Alice's white rabbit, "Oh, dear, oh, dear."
Such was her answer to all questions. There was only
one thing to do. Stop asking. I did.
For the Deanna that her friends know is a live little
person with a quick and ready sense of humor. Eddie
Cantor, whose own humor is not so bad, testifies to this.
There was the blustering spring day that Cantor and his
radio troupe arrived in New York, directly from the sunny
warmth of California. The change in temperature was a
violent one, and before they could get themselves accli-
mated, in fact, on their very first afternoon in Manhat-
tan, a magazine suggested that they journey to the zoo
and have their pictures snapped feeding the animals. So
up to Bronx Park they went, the thermometer registering
near the zero point, and their teeth chattering, their knees
quaking with the cold.
For one half hour, patiently holding peanuts in their
frozen fingers, Eddie and Deanna stood outside the iron
fence that skirts the quarters belonging to the bears.
But there was not a bear in sight.
Deanna did catch a glimpse of one warming himself be-
hind some rocks.
"He's white," she said. "All white."
"A real jjolar bear," said Eddie. "But why doesn't he
come out? Here, bear, bear," he called. "Here, pretty
l)ear. eatee nicee j^eanuts, get your picture took."
The polar bear never deigned to look.
Instead, he turned his back and disap-
peared, joining his family in their comfort-
able cave.
Then up spoke Deanna, suddenly, de-
cisively. "I know why they won't come
out." '
"Why?" asked Eddie Cantor.
"Why?" echoed the equally frozen cam-
eramen. ^ I
"Because," said Deanna, shivering there in the cold, 1
"we're the only fools."
THERE IS the matter of temperament. Although Deanna
confides that her ambition is to be like Lily Pons or Grace |
Moore and sing at the Metropolitan and on the screen and '
radio, up to date she has evinced but one temperamental
display. However, it showed her possibilities. It was quite
an efTective exhibition. It held up a picture. This is the
story.
They were shooting "One Hundred Men and a Girl,"
and Deanna was chewing a licorice drop.
"In the first place, I had no business to be chewing it,"
she admitted, wagging that forefinger at me.
But chewing it she was, and presently came time for
her scene, and director Henry Koster, noting Deanna's
industrious jaws, cried, "Spit it out !"
Shocked, Deanna stared at him.
"Mr. Koster is really a darling," she told me. "But he is
a foreigner and I guess he doesn't know how American
girls feel about spitting."
"What did you do ?"
"At first I stood there and refused. Then the assistant
director took up the order, 'Hurry up, spit it out,' he yelled.
"But I couldn't, I just couldn't ! I stamped my foot,
and cried, and," she added shamefacedly, "I guess I made
a dreadful scene. However, I finally won out."
28
Deonna's proud mother Young, becaitiful, talented
arranges her schedule. and radiantly happy.
"How?" I queried, amused at her serious expression.
"I swallowed it," Deanna said, grinning an infectious little
girl grin.
Meeting her, one can readily understand just why it was
that she found it impossible to spit out that licorice drop. For
Deanna is essentially a neat person. Her bureau drawers are a
joy to behold.
"Mother keeps them for me," she says. "I haven't the
time."
But if she were not a star and her mother did not tidy those
bureau drawers, they would still be immaculate. Deanna is that
kind of a girl.
ON HER hair she wore two perky blue bows.
"Do yoii buy them that way?" I asked.
"No, I make them myself. I have a knack." Then shyly,
"Shall I make you some?"
She wears fiat heeled sandals, although on special dressed-up
occasions, "I wear high."
Her clothes are designed by the studio wardrobe expert and
are of the Eton jacket variety. She mostly wears blue.
"And I'm growing taller all the time," she said. "I'm now
over five feet four. It's good they make my clothes to order,
because I'd be awfully hard to
fit. I swim in a twelve,"
At present she is supremely Jackie Moran capitulated
happy. {Continued on page 82) to Deanna's charm.
Tennis is his great hobby.
WHEN A writer's assigned to do a
story on Fred MacMurray both
writer and MacMurray groan.
"He won't talk," wails the writer.
"What's all the talking for?" Mac-
Murray mutters.
No one has ever accused him of
temperament in its Hollywood sense.
He doesn't deny himself to inter-
viewers. His trouble is that he can't
talk about himself. At least, with
any comfort. He can face you as he
might face a firing squad, wincing
and desperate-eyed. But at such cost
to you both that you think twice be-
fore subjecting him or yourself to
the ordeal.
"They ask me these questions," he
says, "and I jump like a rabbit, be-
cause I don't know the answers. I
don't know what I like except coffee
and doughnuts and hamburgers, and
who the deuce cares? Another one
that gets me is, how does it feel to be
a movie actor? It feels the same as
not being a movie actor, except you
can buy more suits and pay for 'em
sooner. It feels swell to have more
money and more security, but it feels
jittery, too. How long can it last?
How soon before you get conked on
the head and wake up? The less
you think about that, the better you
sleep. As for anything else, you're
the same guy you'd be if you weren't
a movie actor. So what's all the
shouting for?"
A record speech for MacMurray —
a speech to end all speeches. He
touched the core when he said.
"You're the same guy you'd be if you
weren't an actor." Some are, some
aren't. MacMurray is.
He was born in a small town, an
only child. His mother had planned
on a girl, whose name was to be
Rose. When Fred appeared, she
consoled herself by calling him Bud.
He glowers mildly at that memory.
He was bred to what's come to be
known as the old-fashioned qualities
— hard work, decent living and loy-
alty to one woman. His parents sep-
arated soon after his birth. His
mother, not at all sorry for herself,
earned a living for them both. They
moved to California to join Fred's
grandmother and aunts. Fred earned
his school tuition by way of the saxo-
phone and any other jobs he could
find. Then his mother fell, injured
her hip, and was bedridden for four-
teen months, so Fred quit school, and
gave his tuition money to pay the
first month's hospital bills. When
they offered to let the debt ride, he
shook his head. From the little he
earned, he paid the entire bill. That,
according to Fred's light, was noth-
ing to make speeches about. His
mother told the story.
(Continued on page 84)
Fred consoles Billy Lee in "Cocoooiut Grove.
Marjorie's a "Loo-
ahvul" lady-
lovely and lazy,
but she gets there!
Judi has the ambi-
tion and Marjorie
the ability in the
Parks-Weaver firm.
X
r
■V
BY JAMES REID
If Marjorie Weaver had
never met Judi Parks,
you never would have
known Marjorie
HER STAND
Morjorie and Eddie Col-
lins provide the sunshine
in "Kentucky Moonshine."
HERE IS an amazing, and amusing, story. Hollywood
has never had a story like it, and — it hasn't been told until
now.
Perhaps you noticed Marjorie Weaver before "Second
Honeymoon." She played enough "bits" for somebody,
somewhere, to begin noticing her. But you never met
her, close up, until then.
In "Second Honeymoon," you couldn't miss her. She
was Loretta Young's rival, Tyrone Power's other interest.
A brown-eyed, very young, very pert and very naive
charmer with a soft southern accent. A new and interest-
ing screen face, a "natural," non-theatrical face.
You wondered who she was, where she had come from.
You learned that she was a beauty contest winner, one
of the very few who had ever given Hollywood the im-
pression of having ability to match appearance. You
learned that she was from Louisville — pronounced
"Looahvul." You learned amusedly before the movies
would give her a real break, she had had to lose her
southern accent, and then, in her first important role, the
movies had asked her to have just that^a southern accent.
Among other things, you read that she and her stand-in,
Judi Parks, went to the University of Indiana together.
That didn't sound like news. Marjorie wasn't the first to
have a former college chum for a stand-in. Robert Taylor
and his stand-in, Redmond Doms, were pals at Pomona.
But Marjorie and Judi weren't the same physical types
— as stars and stand-ins are supposed to be. Judi's face
was more angular. Her eyes and hair were of a darker
brown. She didn't have the same kind of figure. She
didn't present the same lighting problems, and she was
two inches shorter than Marjorie and had to carry around
a lacquered two-inch block of wood to stand on.
In view of all that, it was a bit unusual that Marjorie
insisted on having Judi, and no one else, for a stand-in.
It looked like a sentimental gesture on Marjorie's part.
She was simply befriending a friend. But was that the
only explanation?
Recently, I walked on the set to ask Marjorie and Judi.
I found Marjorie present, but not Judi. At the moment,
Marjorie was standing in for her stand-in.
That is one thing that stars aren't supposed to do.
Studios discourage it violently. "Standing in" is exhaust-
ing work. Studios want stars to save their energies for
actual acting. If stand-ins are absent, studios find sub-
stitutes— pronto. If a star refuses a substitute, there can
be only one reason : she is making sure that the job is
being saved for her regular stand-in.
I asked Marjorie where Judi and her wooden block were.
"There's the block," said Marjorie, smiling, "but Judi's
out house-hunting. Our rent's due tomorrow and if we're
going to move, we have to find a house today. She'll join
us at lunch if she's had any luck." In the commissary it
looked as if luck hadn't been with the house-hunter. There
was no sign of Judi.
"But she'll be here," Marjorie was positive. "I've got
a hunch that she's found something. And you'd be sur-
prised about my hlinches."
MARJORIE, WHO was disconcertingly bright-eyed and
excited over the prospect of an interview, asked what we
were going to talk about. I told her that I had a purely
personal hunch that her stand-in had made her a stand-out.
Her eyes became still brighter. Her smile widened.
"You've hit on something there. If 1 ain a stand-out.
You know, they say that your (Continued on page 70)
IN MADE HEB
11
STAND-OVT
DICK POWELL
TAKES THE
STAND
BY GLADYS HALL
IN THE commissary on the studio lot one recent day,
Dick Powell chancei to overhear a conversation — and
saw red. And when Dick sees red, it is good and red.
The smiling crooner of love songs has plenty of capacity
for righteous resentment; has, too, the courage of his
convictions.
This conversation being carried on very audibly at the
next table had to do with an article printed in a national
magazine under the by-line of a famous star. Said one
of the speakers, "D'you believe he really wrote it?" Said
the other, with a contemptuous shrug and a laugh, ''Of
course not. He had a ghost writer. Actors can't write."
It was at this point that Richard E. Powell of Arkansas
rose in his wrath and took the stand for the defense of
actors. He informed the benighted one that the star did
indeed write that article — all by himself — and further,
that if at any time this actor should decide to stop being
a darned swell actor he could unquestionably become a
darned swell writer or darned swell almost anything he
might choose.
There does seem to be a curious misconception about
members of the acting guild. If it has been printed once
that Joan Crawford READS it has been printed a dozen
times, always with a believe-it-or-not Ripley implication,
much as it would be noised about that a man walks on
his head or a babe in arms spouts Arabic. Nevertheless,
Jean Hersholt is a bibliophile, Harold Lloyd has done
some excellent paintings, Carole Lombard has proven that
she could make a tasty fortune at interior decorating if
she should ever elect to cease decorating the screen. Ask
Clark Gable. She's just done over his ranch house so
successfully you wouldn't know the old place. Bing
Crosby could give any business tycoon a run for his
money — and conie in first. Jean Harlow wrote a book. All
these are established facts, yet our reaction to them is too
often one of supercilious incredulity.
Dick Powell took the stand for the defence that day in
the commissary with an applauding audience including
liette Davis, Errol Flynn, Pat O'Brien, Mayor Hugh
Herbert, Humphrey Bogart and a bevy of admiring extras
and bit players. Always popular on the lot, Dick has since
become the tow-headed White Hope of all the misunder-
.stood.
Later in his dressing room at the studio Dick again
34
took the stand for the defense. As he paced
up and down the floor, thumbs thrust in coat
lapels,- hair ruffled, blue eyes hot, he repeated,
"I'm tired of hearing this nonsense about
actors. I'm tired of having to say, 'Listen,
World, we can both read and write.' I'm tired
of saying T don't know what my I. Q. would
be today but I'd like to lay a wager that the
I. Q.s of such men as Fredric March, LesHe
Howard, Paul Muni, Ronald Colman and some
others I could mention would stack up right
along with the cream of the intelligentsia.
"I don't wonder, gents of the jury," grinned
Dick, his stern judicial frown relaxing a de-
gree, "I don't wonder that there is such a
crack-brained misconception abroad about ac-
tors in general. I'm tired of the fluff and stuff
I read about us — such choice bits as this one
to the effect that I call Joan every morning at
eleven and every afternoon at three. It's pre-
posterous to begin with. When I'm on the set
I don't know what time it is until my director
or my stomach tells me. I don't work that
way. Furthermore, this little piece went on to
relate that one day I was unavoidably (though
forcibly) detained on the set with the result
that I didn't make my three o'clock call until,
think of it, 3 :20. Whereupon Joan burst into
tears, asked me if I didn't love her any more,
and only by the powers of plushy persuasion
on my part did this little scene fade out to tlie
strains of Hearts and Flowers.
NOW, GENTLEMEN, if I read that about anybody
(and I, like millions of others, know only what I read in
the papers) if I read that, I say — ^and believed it — I
would certainly conclude that the parties concerned
couldn't even be taught to read and write.
"On another occasion I was again impressed to hear
that Joan Blondell, whom I have the honor to call my
wife, has installed at her front door (which also happens
to be mine) a trick camera which instantaneously photo-
graphs anyone who rings our bell. Whereupon Joan,
having apparently nothing better {Continued on page 68)
Dick's had no vacation for thirteen
years but Mrs. Powell — Joan Blondell
to you — would make up for a lot of
vacations, we'd think.
Two and a half year old, little Nor-
man Scott Powell is already the
image of his beautiful mother.
Adorable, isn't he?
Dick may lose his job but he has a sur-
prise solution for even such a problem
35
-t'; ^^^^
Alls' , I * ^ ^oS^Stto-i . ,\ V ,o<» ,e<''' \»* \«> o"^ VJ'^
V^'' v^ti, • K.i^'^
j\->*^^ -c*^ ef-y^j'^ ^^^^
37
"S" is for Sylvia and "sulk," but it's also for "smart,"
so little Sidney soon "got over it!" She's as good as
she looks now.
BY CAROLINE S. HOYT
When Katie Hepburn won the Academy Award, she
didn't even bother to accept it. Good manners? What
do you think?
Fred has definite notions as to what is
right for Mr. Astaire. Sometimes he's
wrong, however.
WHETHER SOMEBODY reached for a copy of Doctor
Freud's teachings on complexes, or \vhether the candid
camera fiends have terrorized the town witli their cliclcing
shutters, or whether some of our movie stars have actually
gone soft after all these years of keeping in condition,
I wouldn't be knowing! But — there is an epidemic of
"running away from it all" in Hollywood, particularly
from cameras and reporters. The epidemic has i-eached
such proportions that whenever a child of the studios
reaches New York; the Big Town feels its effects, too.
Of course, the No. 1 Sissy is, and has been for years,
our New England-bred Katie Hepburn. Katie has never
been able to take it on the chin. H she sees anything
coming her way that she doesn't like, she runs like mad.
When Katie first came to Hollywood, she gave every
indication of being a girl with a sense of humor, one who
knew what made the clock tick. Evidently determined to
ridicule any "intimate" stories written about her, she told
her first interviewers that she "couldn't remember"
whether she was married or not, but that she "believed"
she had two children. She also told them she didn't like
publicity.
When interviewers kidded right back by printing these
bald and undeniably ridiculous statements, and reported
how Miss Hepburn was going Miss Dietrich one better
by going around town in blue overalls. Katie got mad.
She refused to see any more reporters. That was nearly
six years ago and she hasn't relented since. She couldn't
take it.
When Hepburn was awarded the greatest honor that
Polite people might call Miriam Hopkins
an escapist. Well, anyway, she likes
to run — and does!
Hollywood can bestow, the Academy gold statue, or
"Oscar," for a Ijest performance, she wasn't even grown up
and gracious about that. For, even as the Academy ban-
quet was being held in Hollywood, Katie was loping up
the third class gangway of a Europe-bound steamer, trying
not to see anybody or say anything. She didn't even
acknowledge telegrams of congratulations from friends.
To escape whatever it is she tries to escape in her life,
she went all the way to Merida, Yucatan, when she got her
divorce. Which, after all, was tops in running away.
Somehow, admiring Hepburn's stubbornly brittle work
on the screen, L wish that some day she'd stick her chin
out and take things like a Big Girl instead of ducking
them like an adolescent.
USUALLY it is the glamor girls who can't take it, but
occasionally a male star does his stuff in this direction. At
the moment, Fred Astaire rates top l)illing as the No. 1
Male Long Distance Runner-Awayer. Every year in
every way, he gets more and more skittish. A fuss-budget,
a fretter, a stickler for minor details, he has an exagger-
ated sense of what is good and wliat is ]»d for Fred
Astaire.
For example, he doesn't care to have it mentioned that
his real name is Austerlitz, that he is losing his hair, or
that he rose to his jjresent prestige and dignity as a star
from the vaudeville circuit, f ie prefers to rememl)er only
his New York musical comedy days. All of which details
of his life history are, of course, facts that have I)een
l)rinted and are occasionally ( Continued on patjc 'S6)
■::[wm'~'r\
in
fhoite whto nut whep jiXiiit-v^ C <
liiftioii with which they canjiot copi^^
n t.
VES TO
HOLLYWOOD
IF I WERE to tell you my real name, you wouldn't believe
me. I'm the young meteor who burst upon Hollywood a
few years ago, spectacularly, the way they say it happens
only in scenarios. I got here by way of a beauty contest
which carried a free trip to the film capital and a screen
test as a prize. I stayed because I could dance. It seemed
unbelievable luck to me then!
Today I'm a big name. I'm hailed on billboards, in big
electric signs. I'm "young as youth and twice as glam-
orous." I'm "The bright star of the twinkling toes and
the dazzling smile." I'll call myself Linda Chalmers.
Each month, my face laughs up at you from magazine
covers. I'm legend. . To look at me is to love me, the
studio's publicity blurbs say. Girls copy my hair-do and
my clothes and my vivacious manner. Also they envy me.
All that would be funny if it weren't tragic. Because
I'm paying a terrible price for success. I'm paying with
my happiness, the right to be myself. Have you ever
thought what happened to Cinderella after she went to live
in the prince's palace? The fairy tale doesn't say. It
ends with the words "and so they were happy forever
after." But I don't believe that. Because the little scullery
maid, with only her natural grace and charm to guide her,
had to step into a queen's shoes, which are vastly diflferent
from glass slippers.
The little scullery maid had to find out all about prece-
dent, and etiquette, and dignity, and learn how to talk
to ambassadors and ministers, and how to head a banquet
table under the critical supercilious eyes of courtiers and
grand ladies. Sometimes I suspect she must have been
snubbed by butlers. Why? Well, that's part of my story.
I wouldn't be telling this if it weren't for Joe Turner.
Joe isn't the glamorous prince type at all. 'He is a nobody
by Hollywood standards, only a second cameraman on our
lot. But to me he's the most wonderful person in the
world, and I live from day to day in fear that I'm going
to lose him in the mad, crazy whirl of moviedom.
I shall never forget the day Joe and I met. We were
starting to shoot the dance ensemble sequences for
"Rhythm in Your Blood," the musical in which I'm co-
starred with Tom Lane. It was a difficult, eccentric
routine, and though the chorus had been rehearsing for
weeks, we couldn't seem to get things perfect. We did
the first number fourteen times before the disgruntled
director bellowed that we could rest.
Well, everybody but me fell into chairs. I didn't feel
like resting. I was having too much fun. Until suddenly
Tom Lane said in a disgusted drawl, "For goodness' sake,
Chalmers, stop that exhibition." (You wouldn't think,
seeing us on the screen together, that he could ever be
anything but charming to me!) "You make the rest of us
feel tired. Think we can relax while
you perform?"
There was a little silence in which
the tap of my feet echoed too loudly.
I missed a step, tripped over an elec-
tric cord, lost my balance, and fell to
the floor. Joe Turner's strong, steady
arms caught me. "Easy there," he
whispered. "It isn't only women
who are cats."
His voice was deep and warm. His
sensitive face was unspectacular until
you looked at it twice. Then you saw
a dreamer's face, with eyes that
looked into the future, but weren't
content with just looking. The clean
line of his jaw, the stubborn chin at-
tested to that.
He said again, quietly, "Easy
there." And suddenly our eyes met,
and I knew, the way a woman knows
these things, that it was a moment
to remember. That the wild beating
of my heart had nothing to do with
the tempo of my dance, nor with
tripping. And I felt Joe's heart
hammer against mine.
IT ALL took less time than the
telling. Then I was standing on my own two feet, saying
shakily, "I'm all right. No damage.'*
"You might have wrenched an ankle."
I couldn't help a wry little smile. "And that would have
been unforgivable, wouldn't it? A dancing star can't
afford to delay production."
"You're not a star," he said with queer intensity.
"You're just a kid ! And when you act you're not play-
ing any part. You're only being yourself !" All at once
I wanted to cry. For the first time since I'd been launched
in pictures someone saw me as I really was, not as the
publicity office had said I was. And he actually seemed
to like me.
But perhaps I'd better go back to when I first came
to Hollywood. I was terribly young, terribly green,
terribly in love with life and laughter. A dancing fool.
I had a lithe body, large blue eyes in a small face and a
shock of wheat-colored hair. In other words, I was a
natural. And I hadn't an inhibition to my name.
Why would I have? In the little Ohio town where I
was born life was not complicated. You started out with
the assumption that the world was a gay place. I'd been
Love has come to a glittering young star, but she dares not accept it! You
40
brought up to the idea that you choose your friends for
what they are, not who they are. So my first months in
Hollywood I went blithely along pulling what I've since
learned are social boners.
At first no one said anything about it, because the
studio had an idea I was just another contest winner
doomed to failure. Until they saw the rushes of my
first film. Then they got excited. They called me in and
gave me a contract. They decided to spend some money
and build me up. Star material, I was called. A diamond in
the rough. "Very rough," they said, shaking their heads.
The trouble? Well, in the first place I had no mystery,
no aura. So the first thing I knew, I was handed a brand-
new personality on a silver platter. I was told how to
dress, where to go, whom to see.
I said with all the naivete of my eighteen years, "But
what does it matter what I do in my free time so long as
I'm okay at work ?" They answered that stars were never
free. They were public figures. They must behave
accordingly.
Well, under my scatter-brain manner I'm plenty stub-
born, and at that time I wanted passionately to succeed.
I lost my bal-
ance and fell to
the floor. Joe
Turner's strong,
steady arms
caught me.
I wanted to make
money and send my
kid brother through
engineering school.
Do things for my
big sister and her
quiet bank-clerk
husband. Make Dad
retire from the
hardware business
which no longer
gave him a living.
In those days I
still believed that
money could make
people happy. So I
said, "I'll be good.
You tell me what to
do and I'll do it."
I thought, if I
work hard at climb-
ing the ladder,
afterwards, when
I'm tops, I'll live
my life my own
way.
My manager and
the publicity boys
went to work on
me together. May-
be you remember the series of interviews that came out
about the time I was picked as one of the Wampas babies?
Linda Chalmers in severely tailored housecoat, curled up
with a book. Linda Chalmers beside her radio, listening
to Toscanini.
But it was my new social life that depressed me most.
Oh, it was full enough ! I got around to all the right
places. The Brown Derby and the Trocadero. The races
and the West Side Tennis Club.
My name began to appear in the gossip columns.
There'd be a candid camera shot of me with my escort of
the moment.
YOU'D THINK that a kid of eighteen, partying with
men who only a few months earlier had seemed like story-
book heroes, would love every minute of it. But I didn't.
For the first time I was faced with the crushing knowledge
that I was a failure. I wasn't popular. I couldn't make
people really like me.
The reason? Because I was .scared to death, self-
conscious. All this talk about a new personality had
given me an inferiority complex. {Continued on page 98)
will be amazed at this trae story of the sacrifices Hollywood demands
41
t
If
OF BURBANK
No heart oi gold nestles within
the indignant chest of Humphrey
Bogart! He's one villain who
win never let you down
B Y F A I T H S E R V I G E
"HIST!" HISSES the Villain, with murder in his eye
and a lollipop for the kiddies in his jeans. "Ha, ha, ha!"
laughs the Menace, horribly, running off between menaces
to send a Mothers' Day message to the dearest little mother
in the world. Boris Karloff scrubs off the make-up of a
Frankenstein and reveals an English gentleman who keeps
canaries and is tender to his wife ; Wally-Bad-Man-Of-
Brimstone Beery has a little child to lead him; Peter
Lorre cries into his pillow when one of his kittens is miss-
ing; Basil Rathbone carries baskets of goodies around
with him and feeds stray dogs and homeless horses. They
all have hearts of gold, these deceiving villains. And not
even good, hard, cold metallic gold, either. No, squshy,
melty gold that drips good deeds and loving kindness and
makes you feel that you can't trust anybody. The Clown
with the breaking heart, the Villain with the heart of gold
— these are moulds which are never broken, characters
who move, forever changeless, down the pages of fiction
and fact.
And right along with these unversatile characters, says
Humphrey Bogart, goes the Movie Actor, a composite of
all the virtues, a cardboard cut-out presented to the world
with slogans that seldom vary, not even from time to
time. We i-ead, says Humphrey, with a sardonic laugh
and oh, the Saints be blessed, it is a sardonic laugh — we
read that the movie actor is a "man's man," he is always
a "man's man," why, if he weren't, what would people
think? We read that he is always "thoughtful and con-
siderate ;" we read about his "dream woman ;" we muse
over the "forgotten loves" in his life, so faint, so sweet,
so far away ; we see pictures of him at the Babies' Hospital,
distributing largess with loving smiles and such a loving
heart ; we read, eyes bulging, that he sleeps without the
upper half of his pajamas — world-shaking news; we read
about "The Influence That Changed My Life ;" we read
about his "favorite flower", "favorite color," "favorite
hobby ;" we read that "Money Doesn't Matter, says Mat-
thew Manly." It was while Humphrey Bogart, bless his
renegade heart, was in process of reading a little piece
about the young and too-handsome star who sleeps with-
out the upper half of his pajamas that I happened upon
42
him, so happily for me in my diligent pursuit of Truth.
For I had given up hope until I met Hiimphrey. I was
even sadly certain that the Killer in "Petrified Forest,"
the thoroughly unregenerate bad man of "Marked Wo-
man," "Kid Galahad," and the others would turn out to
be just another Fauntleroy, his heart soft as butter, his
hands as white as the driven snow, his point of view a
plasticine copy of the points of view publicized as being
held by. our Movie Models, God bless them, every one.
But no ! No !
I CAME upon Mr. Bogart, on the set of "Crime School,"
where he had been slapping down the "Dead End" boys,
who are still fresh from their New York triumph and in
constant need of slapping down. They get it from Hum-
phrey, and think he is a "keen guy' in spite of it, or per-
haps because of it. I found him reading the little piece
about the star who sleeps minus half his pajamas and
muttering, "It's tripe." And when I gave a wild whoop
of relief and surprise he took me to the Lakeside Country
Club for lunch because he doesn't like to eat in the com-
missary, and so doesn't eat there. And over tomato juice,
bacon and eggs, Mr. Bogart let fly.
He said, "My heart isn't even gold-plated. I haven't
a dram of sentimentality in me, with or without make-up.
"I have no 'forgotten loves.' I remember 'em all; some
of the memories bless, others burn. I don't remember
my 'first kiss.' Maybe there were more than one on the
day of initiation into the osculatory art. There has never
been a 'great influence in my life' which changed every-
thing for me, including my own black heart. I have no
'first childhood memory.' If I could dig one up, and I
won't, I'm sure it would be too unpleasant to print. I have
no 'dream woman' — prefer live ones.
"I've never been photographed, while conscious, with
a pipe in my mouth, a book in my hand, a dog at my
feet, or my shirt opened at the neck.
"I can't give a story elaborating on my preference for
Stage versus Screen, because," said Mr. Bogart, indif-
ferently, "acting is acting, no matter where vou do it.
"I'm tired of reading about {Continued on page 102)
"Bogie" and Mayo
Methot, soon to be the
third Mrs. Bogart.
5S : :
"I haven't a dram of sentimental-
ity in me. with or without make-
up," brags Mr. Bogart.
BY MARY PARKES
CESAR ROMERO is living for the day when he'll win
the girl in the last reel, having wrested her from the ugly
villain who doesn't mean right by our Nell. However,
since he is destined to go through life with the same set
of features with which he entered it, Romero has little
hope of doing much hero-ing in celluloid, for casting
directors seem to feel that he simply doesn't look as if
he'd do a good deed a day, or even, for the matter of
that, know one if he ran smack up. against it.
"I appeared as a gigolo in the first movie I ever made."
opined this Latin from Manhattan, "and I must have
made good, for I've been cast as a gent of unsavory
reputation ever since. Whenever they need someone to
do the dirty work in a sleek way,, they invariably call on
Romero, probably figuring that if he can't act it, he sure
can look it! It would all get me down, too, if I didn't
like sunshine and sound tracks and swimming pools
and salary checks, all of which can make any guy
philosophical."
Romero has been cast as a gang leader, a wolf in
Spaniard's clothing in "The Devil Is a Woman" and a
Pathan Chief in "Wee Willie Winkie." Yep, he's a
bad man in anybody's language or nationality. Then, of
course, there was his role of the comedy cad in "Happy
Landing," in which Cesar played a strictly "love 'em
and leave 'em" lad. He didn't mind this so much, for
Ethel Merman was always around, cinematically, to do
him no good, which gave the audience a certain sympathy
for one Romero.
From the tall tales that emanated from the Sonja
Henie set, Ethel Merman was around, in spirit anyway,
after hours. She played a few practical jokes on Cesar
that left him dizzier than the Ritz Brothers. Ethel had
a little trick of sending herself a corsage and the bill for
it to Mr. R. It drove him a bit cuh-razy, too, when a
gathering of gents, who looked like the laundrymen's
convention in session, appeared for shirts and collars that
weren't ready to be laundered a-tall ! However, Romero
retaliated, feebly and gentlemanly, and is waitine to
properly "pay off" Miss Merman (Continued on page 105)
Cesar Romero is fated to play the bad
boy simply because he looks that way
44
i
i
"Blonde Dyna- I
mite." '
Willie
Winkie."
FOREIGN FLAVOR
Those continental cocktails give a tempting tang
to our movie menu, so they're always welcome!
BY ROBERT McILWAINE
MAYBE YOU'RE one who can take your eggs
without salt, but to many of us they'd be darn
tasteless that way. Personally, I go for the well
seasoned stuff, even in my movies ! Just think
how dull our home-made films would be without
a little "foreign" flavor!
And so, to offset possible monotony, our moom
pitchers are well sprinkled with furriners. They
sort of give zest and zip to the industry, not to
mention that inspiring sense of competition to our
own favorites.
Among the latest importations from across-the-
sea are such notables as Danielle Darrieux, Anna-
bella and Franciska Gaal.
Out in Hollywood, the captains of industry play
a little game called "search for talent." Back
home, youngsters play the same game, only they
call it "follow the leader." Time has proven that,
after the first foreign accent turned up at the
Trocadero, each and every movie company quickly
produced its own particular brand — occasionally
with instructions as to how to pronounce her
name. Simone Simon — remember?
One foreign player who has beauty and brains
is Danielle Darrieux, (Continued on page 101)
Danielle Dctrrieux has every-
thing— beauty, ability and
a fascinating French accent.
Annabella, below, has Bill
Powell as leading man in
her first picture over here.
4S
First, it's done with mirrors,
but once you hnve beauty, let
your mind start working
Virginia Bruee is thrilled over the fash-
ionable new pallor.
HOW TO WIN
MEN ARE in the habit of doing what they want
to do. One of the things they're not too, too eager
to do these days is to fall seriously in love and get
married. Sure and begorra, I can't altogether
blame them. In Grandma's day, in return for mak-
ing an honest woman out of a gal, a fellow got a
fine housekeeper, a personal valet, good cook, a
devoted mama for his all-too-populous family, and
a twenty-four-hour-a-day nurse for himself if he
should get sick. He did not, however, always get
a gay companion and an intelligent pal, which is
where we modern girls have the edge on grandma,
if we'll play our cards right. Furthermore, Grand-
ma's physical allure was apt to buckle under at
thirty, and no wonder. Today, clever women stay
Islim, smart and pretty up to and past fifty.
Good skin and sparkling eyes are Elea-
nor Powell's claims to beauty.
MEN AND MFLUENCE B AClULund
One of the things the modern young man does want
to do is to collect as many feminine scalps as possible,
and let the hearts break where they will. In this mod-
ern war between the sexes, I wish every maid would
be as smart as every swain. Therefore this article.
Some months ago, in these pages, I whipped up a little
thesis entitled "What Do Men Fall For ?" in which cer-
tain obvious and infallible tricks for tripping the male
were discussed. Like neatness and daintiness, un-ob-
vious make-up — but make-up, by all means ! — a certain
aloofness, and so on. Here are some further more re-
cent observations on the subject — partly good old
reliable hints about putting on the war paint and
streamlining the figure, and partly a psychological
pep talk on snaring the elusive male, whether for
a date or for a march up the aisle to the strains of
"Lohengrin."
Take a leaf from the masculine book in not being
particularly eager yourself to get married. ■ That's
where lots of young girls make a big mistake. They
get that matrimony look on their faces at about the
third date or the first kiss. First place, this frightens
a fancy-free gent worse than the plague. Second place,
I think it really is a good idea to get married when one
is a little older and a little wiser. Not only does it give
you a chance to develop qualities of tolerance, clear-
sightedness and so on, but you also have a chance to
get some of the things you want for yourself.
Consider your man. Weed out undesirables from
your list, even if it means (Continued on page 95)
MARY MARSHALL
In addition to her other
chccrming attributes,
Claudette Colbert has
the allure of a beauti-
ful figure.
Love or success— which will you liove? Would you work for them us Jock did?
I ti
ACTUALLY, he is shy yet shrewd. He's whims A, but
a bear for business when it comes to protecting his/family.
He is the type every girl should set her cap for, 'because
he knows that love is worth fighting for. He's one go-
getter who hasn't said goodby to his ideals in learning
how to shuffle the cards of life so he draws the aces.
Unquestionably, Jack Haley is a unique man on the
Hollywood horizon today. He's the town's best joke on
itself. He has been discovered — after having beet^a vital
cog in motion picture casts for all of six unsung years.
Since he quietly stole "Wake Up and Live," the tele-
phone is on a constant rampage in Jack's Beverly Hills
home. The studio is caUing! Will he hurry right over
for a conference with the powers-that-be ? Can he tell
his true life story to an important interviewer?
When it isn't the studio on the other end of the wire
it's filmland society. Mr. and Mrs. Haley simply rnust
come to dinner at nine a week from next Thursf/ay.
There will be only the inner circle, Jack old boy. Cjc if
it isn't society, it's a super-salesman.
The Haleys no doubt need a new
limousine. Or surely they're re-doing . >
their interior in tomorrow's mode?
It is proving a blow when Jack
personally answers that they did
over their interior when they
bought the place at a bargain.
He isn't disrupting his home
about
ingly does pose for the photographs of his house that are
now wanted. He isn't changing his friends because he
can at last have his pick of celebrities as chums. His wife
and his two children mean too much to Jack to be tam-
pered with by any new, pretentious rules for the acknowl-
edged famous.
I have no difficulty explaining why he can withstand
this sudden transformation from expert performer to
ballyhooed star and not be spoiled by it. Jack Haley is
a person with character. He can distinguish between
what's worth-while and what isn't, and he can then stick
to his guns no matter what happens all around him.
What makes him so regular is that he has climbed the
hard way. He has had to go out and learn how to pro-
gress, literally. In this process he has selected the kind
of man he'd rather be. He isn't an extraordinary hus-
band and father merely because he's a prig, or because
he goes to church. He is human. Jack has been tempted.
But he believes in the right way, wholeheartedly. He
pays homage to~ all womankind through his
devotion to his mother and to his wife. He
discovered for himself that there is but one
correct choice in every cHlemma. Life taught
him not only that persistence wins, but what
a fool he was to nurture a half-baked philoso-
phy. Fortunately he didn't have to be hit
on the head for decades to absorb truths ; he
caught on quickly.
Jack has gone after romance just as he has
gone after success. He tries to plan ahead,
and then gambles on his hunches. In the
beginning he liked girls a little too much. He
pitied the saps who went soft. He wouldn't
let any woman nail him down ! At first, too,
he thought money was merely something to
throw around and heaven would rain more
pennies somehow. Then he realized that it's
the confinned (Continued on page 106)
The fans keep Jack plenty busy these
days, and no wonder.
A script, a pipe, a pillow — nice work
if you can afford it!
49
KICKING OVER
THE TRACES
Career for sale! Claire Trevor
tells why she'll take love, a home
and babies— and forego fame
THE ONLY fun I get out of life," said Claire
Trevor, "is in doing the things I'm not supposed
to do."
Most of us would subscribe to that, but it is a
new high in frankness coming from the lips of a
movie star. The average celluloid ingenue on
vacation in New York concentrates her remarks on
the weather, the shows, and the eternal verities.
But when I visited Miss Trevor in her hotel apart-
ment the fading twilight moved her to talk about
things that are usually left unsaid.
"I've always been pretty sensible and economical,"
mused Claire. "I'm not so sure it's the right idea.
I went to Hollywood to make money and I've made
it. It's salted away in real estate and insurance,
as it should be. I haven't a maid, a swimming
pool, or a fleet of cars. I've lived quietly with my
mother, almost frugally. During the past five
years there's nothing that stands out in my memory
except the single time I kicked over the traces and
did exactly what I wanted to do.
"That was the time I took that never-to-be-
forgotten Panama Canal trip to New York.
IN ITSELF that wasn't giddy. But when I arrived
I took the swankiest tower suite at the Waldorf,
paying twice what it could possibly be worth.
Then I rented a long, luxurious Isotta, complete
with chauffeur and footman. And did I do the
town! Clothes from the smartest and most ex-
pensive shops. Hats designed for my particular
head by Lily Dache and John-Frederics at fifty
dollars a copy. A ducky little bangle from Car-
tier's and a love of a wrist-watch. A pencil from
Dunhill's with a teeny watch inset — silly but slick.
"I lived that week-end as though it were to be
my last. I crowded every extravagant whim into
it, and had the time of my life. When it was all
over I discovered that it had run into three thou-
sand dollars — probably most of it spent foolishly.
Or was it? I can remember every thrill I got out
of that one colossal binge. I did what I wanted,
bought what I liked, I let myself go. I'll never
forget a moment of it. {Continued on page 78)
BY MALCOLM
Dixie Dunbar, layne
Regan and Claire
Trevor in "Walking
Down Broadway."
OETTINGER
"Live your own life," says
Claire. And she knows
what it means not to.
Off with em .early. To-
morrow's a big day at
the studio.
A girl has to keep up ap-
pearances from tip to toe.
Lona knows how.
AFTER THE
DAY'S WORK
Louis B. Mayer es-
corted the Iqwely
Norma Shearer.
Beauty, brains and
talent had their night
when the Academy of
Motion Picture Arts and
Sciences Made Awards
Moviedom's most
beautiful figure be-
longs to the danc-
ing star, Zorina.
Marlene Dietrich con-
tinues to hold her
title of Hollywood's
> most alluring legs
P BY S
58
Loretta Young, Holly-
wood's most beauti-
ful girl, is perfect
in no single feature.
The loveliest arms
and shoulders be-
long to seductive
Dorothy Lamour.
AWARD DAY
Dolores Del Rio has
the most beautiful
and expressive eyes
in Hollywood.
Here are some of filmdom's famous with
their stand-ins. A stand-in, in case you
don't know, is someone with looks and
abiUty, but little opportunity. Here is Ben
Splane, who is "lighted" for George Brent.
Mary Lou Islieb is Shirley's chum and
stand-in. Mary Lou got the job because
her mother and Mrs.- Temple are old
friends. Everybody loves the star, but only
her family and Shirley love her stand-in.
Helene Holmes
is Alice Faye's
"shadow." She
is also her best
friend and her
personal ward-
robe designer.
Sally Sage is prettier than Bette Davis, but
she hasn't Bette's dramatic ability. That's
why you've never heard of her while Bette
ranks high among your favorites. So
near and yet so far from fame and fortune!
Tyrone Power got his stand-in job for Tom
Noonan, one of his most intimate personal
friends. While they'd never be mistaken
for each other, their build and coloring
are the some. Stand-ins work hard, too.
SOFT BALL ADDICT
There's plenty of action in a game of soft boll when
Wayne Morris goes to bat. What, a lady catcher?
Off with stiff mufties, on with the good old corduroys.
Now for a walloping good game of soft ball. Some fionl
Let 'er fly! Wayne Morris is all set for anything.
What a game for muscle control, agility and poise!
Frank McHugh and Hugh Herbert are veteran addicts.
They're spectating today, but tomorrow, who knows?
Try the water.
Slide in gradually.
Don't dive first.
SILHOUETTE
1 !l
B Y
LEO
W N
Youve heard the one about a gal being worth her weight in gold? Well here's a
new angle on that old story with a movie twist to boot ! It may sound amusin^
enough to you, but its heroine somehow can't laugh it off so readily °
JSJorma bhearer is worth her weight in clothes on the "Marie Antoinette"
set. She only weighs one hundred and ten, but six of her costumes
weigh between one hundred and five and one hundred and twelve
pounds. Adrian's so disgusted that his beautiful costumes aren't
going to be photographed in color that he's making a complete color
version of the picture with his own miniature color camera. '
Behind Scenes
It's fun to watch the extras on the "Marie Antoinette
scenes. The costumes are breathtakingly beautiful — really
Adrian's mosterpiece in costume production. After a
scene of great elegance they stroll off the set and are
themselves. One girl pulls up her exquisitely em-
broidered petticoats and hoops and displays bright
red flannel slacks, from the pocket of which she ex-
tracts a pack of cigarettes. A man sheds his stiffly
embroidered coat and walks around in a dirty
sweat shirt abbye molded white satin pants.
Another delicate beauty, in White wig. beauty
patches and flowing taffeta skirts puffs away
on a big black stogie. This, to our relief,
turned out to be a stunt man.
Shirley Temple startled everyone when
she came rushing on the "Little Miss
Broadway" set the other morning and
inquired, "Has Snow White had kittens
yet?" It was finally all cleared up by a
prop man, who owns the expectant cat.
To the Point
Best and briefest speech at the
Academy banquet was supplied by
Edgar Bergen's Charlie McCarthy.
Bergen was awarded a miniattue
statuette for "creating a new comedy
character." He accepted it, then
turned to Charlie and asked him if
he'd like to say a few words about it.
"Yes," said Mr. McC; "it's damn small."
It sounds silly, but if you knew
Marie Wilson you'd know it could hap-
pen. At a dance, recently, she met a
girl from her studio publicity depart-
ment. The gal said "Hello," but Marie
didn't recognize her. So the young lady
introduced herself. "Oh, of course," said
Marie. "But you look so different at
night, like another- woman. You really
should change your name at night."
What's Left?
Dick Powell, a hard-working young man about
town, doesn't believe all he reads in the papers
about high-salaried movie stars. Salaries are fine,
he thinks, if you could only get them. He says only
Kve percent of his wages finds its way into his own
socket. Eighty-five percent goes for Federal and Cali-
fornia taxes on income and property, ten percent goes;
to his agent, and — well, figure it out. Of course five per-
cent of a lot of money still buys groceries, with enough left
over to toss a little something to the wolf.
■ ■ ■
In "Three Comrades," Franchot Tone, Bob Taylor and Bob
Young play three German youths during the pre-Hitler period. Of
the three, only Franchot Tone wears a short, military haircut. Before
the picture started, Metro ordered the three of them to visit the barber,
lone complied, but Taylor and Young refused. So Metro rescinded the
order, but Tone was stuck with his short haircut. This picturixation of Erich
Maria Kemarque s novel by the same name is powerfully dramatic, and should
be worth seeing Besides the stars mentioned, Margaret Sullavan has a leading
loie. ihis will be her • first screen appearance since the birth of her daughter, Brooke,
Spring is here— with movie stars catching up with social activities and
64
Double TroDble
Rumors that Ginger Rogers and Lew Ayres plan to take up their marriage irom where
they dropped it several years ago are now being denied by both Ginger and Lew,
who ought to know. The thing started when Lew was reported seen at several
night spots with Ginger. The reporters were only partly correct. His com-
panion's name was Ginger, but it wasn't Ginger Rogers. It was Ginger
Alton, o young lady who is a doable for Miss Rogers, and who once was
her stand-in.
Joan Bennett's new home in Holmby Hills is really something.
It is French Provincial, and all the interior decorations were
planned by herself. It's completely feminine, as you might
expect, except for one guest room and a den which are
done up with bear skin rugs, Hudson Bay blankets
which Joan brought back from Canada, and pictures
of Joan all over the two rooms — pictures that are
Walter Wanger's favorite studies of her.
Good Acting
The devoted
Arleen Whe-
lan and Rich-
ard Greene
didn't escape
us at the "Re-
becca" pre-
Edgar Bergen
doesn't need a
tall one with
Dorothy La-
mour around.
But where
Charlie
McCa'-t^^'!'
If the Academy ever gives an award for over-
acting, it will probably go to Luise Rainer for
the histrionics she exhibited at this ye<a's
Awards banquet. When she was announced
as the winner of the 1937 "Oscar." Luise
managed to look completely surprised, even
though she had posed accepting it two
hours before for the newsreels. Her per-
formance when she reoched the speakers'
table and officially accepted the award
was magnificent to watch. It was "The
Good Earth" and "The Great Ziegfeld"
telephone scene rolled into one.
Out on the set of "When Were You
Bom," conversation had turned to the
mother-in-law problem and someone
contended that bogey was pretty much
passe — ^women today, having a better
understanding of psychology, got
along better. Anna May Wong's re-
mark was, "The Chinese are psy-
chological as a race. And don't for-
get their symbol for 'trouble.' It's
one horizontal line with two shorter
lines beneath, signifying two women
under one roof."
Body Tracks
We spent an oftemoon on the set of
"Gold Diggers in Paris" the other day.
watching Rudy Vallee truck — or rather,
watching Mr. V. trying to truck. They
were shooting the finale number of the pic-
ture, and forty gold diggers and all the
principals of the cast were trucking away
for dear life, the Warner Brothers and Busby
Berkeley. It seems if you can't truck, you
j»ist can't truck — and that was Rudy's rother
embarrassing spot. To make matters worse, his
gal, Judy Stewart, was on the sidelines. They
tried it again and again, and along about diimer
time, Rudy finally came through and was pro-
nounced a rug cutter. So when you see the picture
and the cast looks just a little weary in that finale,
youll know why.
When a screen and radio comic's home was endangered by
the recent flood, a gang of studio workmen came to his rescue
with sandbags and shovels and managed to prevent considerable
damage. When they finished, after working all day, the guy didn't
offer them even a cup of coffee for their pains. Lately they've been
findmg It a little difficult to laugh at his jokes.
A Veteran
Twenty-five years in pictures in Hollywood is nice steady work if you can get it
Jean Hersholt just celebrated his first quarter century before the local cameras, and he
likes it. When he first arrived in Hollywood, he put on his best clothes, a cutaway, striped
trousers and top hat which he had purchased in Denmark, and walked three miles to what
our reporter catching up with movie stars— and a good time was hud by all
was then the Ince Studios. '"Are
those your own clothes?" asked the
casting diiectoi. Hersholt told him
they were, and the guy signed him
up to start work immediately, at
$15.00 per week. Today, out of all
the congratulatory wires he re-
ceived, his most prized is one from
Denmark — from the tailor who made
that cutaway!
In those days, says Hersholt, al-
most every picture was a western,
and almost every one of those
showed the pioneers being attacked
by the Indians. Hersholt really
learned acting in that period, for
often he spent the morning behind
a covered wagon defending himself
from the Indians, then put on war-
paint and rode around all after-
noon shooting hell out of the same
covered wagon.
Much Gained
Mrs. lack Oakie, known in the
Brentwood Heights section as editor
of the Illustrated Animal News,
plans to return to the screen. She's
been on a weight-increasing diet,
and has added thirty pounds in
places where thirty pounds do a
girl the most good. Only trouble
with the diet is that it has added
some fifty pounds to the master of
the house, who could do without it.
On the "Three Comrades" set,
Gordon Cravath, a stunt man, was
doubling for Henry Hull. He was
made up exactly like him, and
after a soap-boxsscene, was to be
While in New York, Mr. and
Mrs. Ralph Bellamy "did"
the Rainbow Room.
mobbed, and really mobbed, by a
crowd of people. But some of
his fellow stunt men decided that
Gordon wasn't really getting the
works, so, after the scene, they
fell on him and dragged him
around the set, giving him a
thorough going-over. They
were delighted with his agonized
yells — until they finally heard a
weak voice, "Lemme down — I'm
Henry Hull."
Knockout
Arisen Whelan took a beating on
the set of "Kidnapped" the other
doy. She was thrown against a
table and knocked out for almost
five minutes. However, she re-
vived in time to lunch with that
combination of Tyrone Power and
Robert Taylor — Richard Greene.
There are Great Lovers galore
on the Warner lot — Errol Flynn,
George Brent, Wayne Morris
and Dick Powell, to name a few
— but only one individual out
there has any practical claim to
the mantle of Casanova. That
one is Arno, a debonair Schnau-
zer with a breath-taking profile.
Arno is the property of Errol
Flynn, and has the run of the
Warner Idt when his master is
working. A month ago a litte^
of puppies were born to a Cocker
Spaniel on one of the sets. The
offspring, it is whispered,-bear a
suspicious resemblance to Arno.
(Continued on page 97)
Margaret SuUavan, Frank
Borzage and Robert Taylor
caught off guard.
Mother and Dad took Shirley Temple
to her own preview of "Rebecca of
Sunnybrook Farm."
MODERN SCREEN
MRS. VICTOR DU PONT, III
1 t.^
FREDERICA VANDERBILT WEBB
note MRS. DAVID S. GAMBLE, Jr.
ANEW CREAM that puts the necessary
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Since Pond's new "skin-vitamin" Cold
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In this advertisement we are repeating
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my skin finer and softer in spite of all
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Exposure dries the "skin^vitamin"
out of skin . . .
Exposure is constantly drying this "skin-
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MRS. HENRY LA 1 KOBE ROOSEVELT, JR.
regular way for cleansing and before make-up.
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Same jars, same labels, same price
Now every jar of Pond's Cold Cream you buy
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Suppose you see what putting the "skin-
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Use the new Pond's Cold Cream in your
TEST IT IN
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TUP NB^
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Name-
Street-
Tune in on "THOSE WE LOVE," Pond't Program, Mondays, 8:30 P.M., N. Y. Time, N.B.C.
City_
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Copyright, 1938, Pond's Extract Company
67
MODERN SCREEN
9
SIOl!
'Quick —
cheer up with
a stick of Bee-
•'^ man's ! There's
'V' nothing like that de-
licious Beeman's flavor to
drive off a grouch — that
fresh zip and tang is a tonic.
Do you know why it tastes
so refreshing? That airtight
package keeps the flavor
fresh and delicious as the
day it was made! Now don't
be selfish — I'll have a stick
of Beeman's too!"
Beem
an's
AIDS DIGESTION...
DICK POWELL TARES THE STAND
{Continued from page 34)
to do than to lie in wait for doorbells to
ring, grabs the film from the camera, rushes
to a handy dark-room, develops the film,
and the caller is then admitted or not de-
pending on how Joan likes what she sees
on the negative. Now, what would anyone
think of people reported to indulge in such
naive tricks ?
"I am tired, your honor and gentle-
men of the jury, of the belief that when
an actor is washed up as an actor he is
also washed up as a man, as someone to
be reckoned with. I would like to tell
the court that if ever I have to make a
living away from the screen, I can do it
in any one of half a dozen different ways.
"And in just about two years I may
have to prove that statement unless I make
better pictures than I have been turning
out. I can see that writing on the wall —
and read it, too!" (Dick doesn't want to
make big musicals any more. He doesn't
want to "go Hamlet" on Hollywood, not
that, but he would like a chance to play
in pictures like "The Awful Truth,"
"Bringing Up Baby," and such. He knows,
he says, that he can't be a juvenile crooner
at forty 1 )
"But," continued the young attorney for
the defense, "you are probably saying to
yourself, 'Yes_, then what would you do.
Actor?' All right, you don't scare me. I
might sell insurance. I might sell real
estate. I'd try something where the ability
to talk fast would stand me in good stead.
"Let me tell you a few things about ac-
tors which you may not have paused to con-
sider. (1) The nature of our work makes
most of us versatile. We have to get un-
der the skin of so many different characters
that we can't help learning something
about the manner of men we play. (2)
We've got to be 'quick studies,' learn
our lines and remember them. Our mem-
ories must function smoothly and accur-
ately. (3) We've got to be diplomats too,
good mixers, because we must be on good
terms with the prop boy, the producer, our
fellow players, and also with perfect
strangers. (4) We must at all times have
poise, sometimes under very startling cir-
cumstances. And, gentlemen, if these
aren't every one of them qualities which
would be essentials to the success of a
doctor, or merchant, then maybe I'm
ACTORS, my friends, do see themselves
not as others see them but as them-
selves. Take fellows like Fred MacMur-
ray, Gary Cooper, Jimmy Cagney, Warner
Baxter, Frank McHugh, to mention a few.
I defy anyone, in any walk of life, to name
men of finer intelligence, clearer perspec-
tive, wider interests, or greater potential
abilities.
"Think, gentlemen, what an insurance
salesman Robert Taylor would make. If
there is an insurance salesman among my
readers, let him shudder. For I'll wager
that Bob Taylor with his gift of speech,
his looks, his honesty, his persuasiveness
would ma'i<:e a tidy fortune in the insur-
ance field. Think of what Herbert Mar-
shal would add to the diplomatic service
with his intelligence, his charm, his
knowledge of the world on both sides of
the water, his faultless diction. Think of
the medico Jimmy Cagney would make,
with his basis of scientific interest, his
nerves of steel, his clear-thinking mind.
Think of the scientist Paul Muni would
be if he brought to that work his tre-
mendous powers of concentration, his
patience, his gift for research, his earnest-
ness and self-control.
"We are not a special race of men, gen-
tlemen, we who wear the motley. I very
much doubt that there's any such thing as
a 'born actor' any more than there is a
born bond salesman or a born stock broker.
"We're actors, most of us, because we
happened to get into the business of acting,
found that it paid, and stayed with it — not
because we couldn't have been anything
but actors.
"Besides varied abilities, actors have, sirs,
more varied interests than any group of
people I have ever known. It's been said
that we always 'talk shop.' We don't in
our home for one. We talk about boats,
and fishing, and golf, the state of the stock
market, whether to buy land here or in-
vest our money in foreign securities, about
the races at Santa Anita, about books we've
read, about the fun we'd like to have. We
never talk shop. Can you imagine a sub-
ject that Robert Taylor or Clark Gable
could be more tired of than Robert Taylor
or Clark Gable?
"But about having fun," said Richard
E., looking a dash wistful, "I'd like to
tell the world that I'm beginning to have
fun for the first time since I started to
sing on the stage.
"When I was on the stage back in
the Pittsburgh days, you see, I never had
good times as the normal man understands
them. For seven years without a single
vacation I played five shows a day, the
music halls at nights. I've been in Holly-
wood for six years and have had no vaca-
tion since I've been here. Even such slight
sallies into the amusement world as I take
turn into jobs. I rarely walk into a night
club that I'm not asked to sing. You say
why do I do it? So that I won't read
in the morning papers that a certain Ark-
ansas boy has gone awfully snarky, and
is a stuck-up, disobliging so-and-so.
MY sailboat is my main diversion. Joan
doesn't care for boats. She likes to
knit. I don't like to knit. So Joan knits
and I play about with the boat and every-
thing is jake. I golf and ride and swim.
And I think I know a good contract bridge
hand when I see one — and I like to see one.
That's fun. I hope to buy an aeroplane
soon. I love to eat ham and eggs, too, and
I also like to mess around in a garden.
"Let me tell you, when Joan and I are
alone, in the privacy of our home, we
seldom if ever talk shop. We talk about
our home. We discuss the servant problem.
"We talk about the children, about
Normy and about the baby who is to come.
We discuss the possibility of Normy 's
future career as an actor. You would be
surprised, gentlemen, at how rich and
varied and important the off-screen lives
of actors can be.
"So, I say, gents of the jury," summed
up Dick, "first, that I have now to go to
the dentist, and secondly, that just as it's
not a trick personality which makes a man
a tycoon in the lumber business, so it's
not a trick personality that makes an actor
great. I say, gentlemen, that you have
to know your ABC's in any line of endeav-
or if you would be successful, and I repeat
that our foremost actors do know their
ABC's, know how to read and write, and
could earn their daily bread and butter in
innumerable other ways. A trick person-
ality masking dim wits may get a fellow hi.-,
first chance on the screen but it won't keep
him there.
"The defense rests its case."
68
MODERN SCREEN
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MODERN SCREEN
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(Continued from page 33)
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70
best friend knows you better than you
know yourself. Judi thinks I'm an actress.
I don't. If it's proven that I am an actress,
it will only prove that old saying.
"Judi and I hated each other at first
sight, positively hated each other. Why, I
w^s the only girl in our sorority who
voted against her. I was a senior. She
was one of the freshmen the House was
'rushing.' She came to the rushing party,
a symphony in black. It was Fall, and
black zvas perfectly proper. But all the
other freshmen were in sweet little prints.
And in came this one in a black dress that
just clung to her, sheer stockings, black
shoes, carrying a black pocketbook — very,
very sophisticated. Much too sophisticated
for a freshman. And she was wearing a
big black pancake hat. I didn't like that
hat. I hated it. I decided, the minute I
saw it, that I couldn't like anybody who
would wear such a hat."
Majorie laughed at her memory and at
herself. "I have that hat now. And I'm
crazy about it. I wouldn't part with it.
"I couldn't take my eyes ofif that girl. I
decided I wouldn't like her even without
the hat. For one thing, she didn't laugh
like most people. She zvhoo-ed. And the
way she got attention ! Nobody was no-
ticing any of the other freshmen. Nobody
except me.
"As captain of the rushing, I had ar-
ranged some stunts and some skits. In
the middle of the entertainment, I suddenly
missed Judi. And where do you suppose
I found her? Up in the smoker, smoking
— chatting nonchalantly with the presi-
dent of the House. Monopolizing her.
"That night, when we voted on the
rushes, I held out against 'that Judi Parks.'
My roommate kept me up until four a. m.,
arguing with me. 'Everybody else wants
her,' she said. I finally said, all worn out,
'AH right. You can have her.' We
pledged her.
"And, immediately, Judi became the
problem child of the freshman class. She
had dates every night in the week. And
she accepted a frat pin — another thing no
freshman was supposed to do.
"I hated her so that they made me her
'house mother.' They made her my room-
mate, the second semester. On the theory
that she could talk everybody else out of
things, but not me. I'd sit on her.
"As a freshman, she was supposed to
do certain things around the House. She
usually managed to get out of doing them.
I decided to fix her.
"One time I was ill. She was supposed
to bring food up to me. She didn't appear
till four p. M. I was so mad that I got out
of bed to tell her what I thought of her.
I told her that she was 'just a fair-weather
friend,' that when I couldn't do things for
her, she wouldn't do anything for me. That
hurt her. She was sorry. She couldn't
do enough for me after that. I couldn't do
enough for her."
AT this moment, Judi arrived at our
luncheon table. Her eyes had a gleam
in them. She had found a house. Time
had to be taken out while she described
it — a little white Colonial in Westwood.
with two bedrooms, and a fireplace, and
a yard. Then Marjorie told her what we
had been talking al)out.
Judi demanded, "Did you tell him about
our 'penitence box?'" She turned to me
and said, '|Every time one of us forgets to
do something, a nickel has to go into the
box. Marjorie's always putting in."
Marjorie, pretending not to hear her,
and went right on telling her story.
"One afternoon, I was sitting with a boy
on the front steps of the sorority house
when Judi came up the walk with a maga-
zine in her hand. 'I've found a beauty con-
test for you to enter,' she said. I could
have killed her. You know how boys are
about girls who enter beauty contests.
"I managed to shoo her away" — a mem-
ory that evoked a ivhoo from Judi. "But
when I went up to our room I found the
magazine open at that page, on top of
my dresser. I threw it in the wastebasket.
Next morning there it was, on top of my
dresser again. I must have thrown it
away a dozen times ; and every time it
would come back, open at that page."
"She didn't think she stood a chance,"
said Judi. "I knew diflferently. She had
placed second in a 'Miss Kentucky' contest
one year. She had been 'Miss Kentucky
State Fair.' She had been voted the pret-
tiest girl at Indiana for three straight
years. The prize in the contest was a
course in a dancing school in New York.
Marjorie had been the dancing lead in
campus shows for three years. I had visions
of a career for her. She didn't — until
then."
What ivas she planning to do after col-
lege ?
"I thought I'd probably be teaching,"
Marjorie said. "I never thought of asking
my family for money to go away and try
to get started on a career. In the first
place, my family didn't have that kind of
money. And I didn't have that kind of
ambition."
Judi shook her head in mock wonder.
"No," said Marjorie, "I wasn't wonder-
ing how soon I'd be getting married. I
was never serious with any boy. Except
maybe one. His name?" She smiled teas-
ingly. "Oh, but we were talking about a
beauty contest.
"You had to send in a picture of 3'our-
self in a dancing costume. I had some
from one of the campus shows, three years
before. Judi picked out the one she liked
best, and said that was the one I ought to
send. I was beginning to be a little en-
thused by this time — thanks to Judi. But
I still didn't have nerve enough to send
off the picture. 'Don't you worry about the
nerve to send it,' Judi said. 'You just
write a little letter, telling who you are,
and I'll send it off.' "
"It took me three days to get her to
write the letter," put in Judi.
"Well, anyhow," said Marjorie, "when
the news came that I had won I said, 'Judi,
now I'm really going to work.' I went up
to New York with my mother and fifty
dollars, to start that dancing course.
Mother stayed three weeks. Then Judi
came. She didn't go back to college."
"How could I?" demanded Judi, "I had
to keep my eye on you."
CO," explained Marjorie, "she came up
'J to New York to go to dramatic school.
We took a little apartment. I learned
little things about acting from her. She
learned little things about dancing from
me. With Judi there, I didn't have a
chance to get lonely. Or a chance to re-
member that I was scared stiff of New
York.
"I had just fifty dollars, remember. I
didn't want any more than that, didn't
want my family to gamble any more than
that on my becoming something. But fifty
dollars didn't go very far in New York.
I had to do something to earn a living till
(Confinucd on page 109)
MODERN SCREEN
"Look at those snapshots . . .
then decide" says DOROTHY DIX,
famous adviser on life and marriage
'T BELIEVE that practically every
X girl or man has a chance, some-
time during romance days, to make a
happy marriage. Unhappy marriages
simply show how many let the right
chance slip . . .
"Try this plan: When you meet
someone you like, see that you get
plenty of snapshots. This is a natural
and easy thing to do — romance and
snapshots go together like music and
moonlight . . .
"And be sure to save your snap-
shots. Then, when you think your big
moment has arrived, get out the snap-
shots of all the others. See what they
say to you. See if the faces and scenes
don't awaken memories that make
you pause. Perhaps you'll recognize
the right chance that has gone by
temporarily, but can be regained."
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71
SUMMER STARTERS
BY ANN WILLS
In "Stolen Heaven," Glenda Farrell wears
a shirtmaker, all-purpose frock for summer.
WELL, MY LOVELIES, spring and its constant atten-
dant, the newest thing in fashion, are both well under way.
For the new season, you selected the most becoming out-
fit you could find, and I've no doubt that when the boy-
friend called to take you riding on Easter Sunday
afternoon, the loveliness of you in your new ensemble
drove the dear man absolutely ga-ga and even made him
forget his favorite movie actress !
But the wise little gal won't stop here and rest on her
laurels (or the posies of her new spring bonnet). She
looks forward a little and sees summer coming up awfully
last. Now, summer means vacation. And vacation means
new clothes, most of them to be useful only during those
two or three glorious weeks of freedom, and week-ends
afterwards. But how about the rest of the time, when
Designed to make you look as smart
72
Also excellent to start the summer is her
two-piece jacket suit in lightweight wool.
you're just living your regular everyday existence? !
After all, you can't wear sunback frocks or play suits
all the time, especially if you live in the city. You must :
have cool, comfortable, yet smart clothes to further your <
career, even to do the family shopping, go to the movies,
or to any of the places that require a certain formality in j
your dress.
Right now we're in a sort of in-between season, with .
no special events to buy clotlies for, so I suggest that you |
look into the future a little and get a few things to start
the summer right. Then, when it's time to begin thinking ,
about vacation clothes, you'll be that much ahead. With !
the practical side of your summer wardrobe out of the
way, you can devote all your energy and budget to the
fascinating new play clothes! {Continued on page 79)
as a star and as fresh as a daisy
MODERN SCREEN
ea
Uhfi
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ta ch
€irin an
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MODERN SCREEN
WHY GABLE IS KING
(Continued from page 27)
College Girls
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Cily aialr. ,
Spencer said, "Yeah — and Gable's never
forgotten that a hundred dollars is a hellu-
va lot of dough, if you know what I mean.
You don't have to pamper that guy, either,
that's why he'll wear the crown until he
takes it of¥ with his own hands. He's an
all-round human being and appreciates a
joke on himself as much as he appreciates
the horsing he gives others. He takes his
work seriously, too, don't let him kid you
about that. He won't say so because of
his fear of ever seeming pompous or pre-
tentious, the heavy actor stuf¥, but he
couldn't have developed as he has, he
couldn't be the swell actor he is unless
he did take it seriously. He may crown
lue for this," laughed Spence.
"He can get along with absolutely any-
body, too, from a punk kid to some grand
dame giving him the works. He's escaped
being the bohunk some other fellow in
his spot might easily have become because
he's a right guy. He's tops with me, on
the set and off, I'm telling you."
"And he's terrifically interested in other
people, too," Myrna said, "all kinds of
people, what they're doing and want to do
and why. That's very handy in a King,
you know, being interested in the People.
I heard him talking the other day to a
young woman from the publicity depart-
rnent. She happened to mention that her
little boy was going to military school and
she hoped she was doing the right thing
in sending him there. Clark talked to her
for half an hour, discussing the advantages
versus the disadvantages of military school
for a small boy he'd never seen. Anyway,
how long he's been tops tells the story
— more than four years, isn't it? And in
that time many have come and some have
gone, but Clark's position remains su-
preme and undisputed."
"Sounds too perfect," I murmured.
"No," said Myrna, "I wouldn't say that
of anybody. He's got his faults. He's got
a good broad streak of Dutch stubbornness
He makes up his mind about something
and, right or wrong, it stays made up."
"I know I wouldn't put my frail shoul-
ders to the job of trying to change it,"
laughed Spence — but so warmly and affec-
tionately that it would warm the cockles
of your heart to hear one man speak so
of another man, one star of another star.
Gable and Director Victor Fleming ap-
peared. _ Spence and Gable went into ac-
tion, a big scene, magnificently done. 'When
it was over Clark shouted to Director
Fleming, "How was it, Vic? '
"Pretty good," countered Fleming, wink-
ing at me.
"Whaddyou mean, Tretty good'?" yelled
Clark, "Power and Taylor couldn't give
you any better !"
WHEN Clark is on the set, in action,
he is the character he plays, assured,
easy. The instant he steps off the set he
looks like a small boy who, having just
recited a piece triumphantly, squirms with
embarrassment, gets red in the face, says,
"Aw, heck!'' to cover his shyness.
It was Vic Fleming who said to me, "It's
pretty obvious, of course, why Gable was
chosen King. He has a handsome robust-
ness, a fine personality. But it's more than
that. He has a strange form of intellect,
something that photographs. His charm
is not a physical thing, it's a mental thing.
It comes creeping out through his eyes, a
shine, a brilliance, a rich laughter. Not
an educated, small mind ; an uneducated
big mind, that's Gable. By which I do not
mean a lack of schooling but a lack of the
74
necessity to exploit a pseudo intelligence,
to cultivate mannerisms. He is absolute-
ly without ego; there's a fine pride in
the man, but no ego. He's a very reticent
man, a very sensitive man. Perspires free-
ly under the collar when he is embar-
rassed and he's embarrassed far more eas-
ily and far more often than you would
ever suspect. He's so sensitive that he
vvears an armour of gruffness to protect
himself. He's a very tender man, a very
understanding man. He's never been
changed by the terrific barrage of flattery
and attention to which he is subjected be-
cause he knows that if he did succumb
he would be a fool. He has the rare
quality of humility which is worth all the
false pride in the world. He still remem-
bers that the word 'fan' derives from the
word 'fanatic' He'd be equally success-
ful in anything he might choose to do or
to be because he's a great guy in the place
where a great guy begins — the heart."
TT was "Walter Strohm, the assistant di-
rector, who told me more reasons to
prove that your votes were right votes. Let
me tell you, when an assistant director is
'for' a star, that star is just about as Four-
Square as Aimee's gospel. Too often, the
assistant director is the man upon whom
the star, little of soul though big of role,
vents his spleen. Too cautious, too cagey,
perhaps too cowardly to hackle the director,
he will badger the life out of the assistant
director. These boys would make them-
selves pretty scarce if they knew they were
to be asked to talk about some of the
stars they have worked with. But when
Strohm knew that I wanted some "in-
side stufif" on Gable, he was an.xious to
talk.
He told me that when Clark was out at
the army flying field the other day, he took
as much interest in meeting the army fliers
as ever any fan took in meeting him. He
vyanted to do things their way. They took
him up in a bomber, let him handle the
controls, were amazed at his competence.
But not until they came down and asked
him did he let on that he had flown many
times.
Clark's never too big to ask advice, ac-
cording to Strohm. His "technical advisers"
on "Test Pilot" have been all the licensed
aviators on the studio lot — Wally Beery,
Jimmy Stewart, Clarence Brown and
others. His personal heroes — and the
point is that he has heroes — are Lindbergh,
the lost Amelia Earhart, Jimmy Mattern,
Kingsford- Smith, and Bob Fogg who flew
into the wilds of Alaska to deliver the
serum that saved the lives of an entire
Arctic community. These are the men and
women, these are the deeds of valour that
make the heart of Gable pound in the
deep cavity of his chest, as your heart (or
mine) may pound when -ive look at Gable !
He's never a Know-It-All. He's never
a complainer. He never w-orries about
whether his car is waiting for him at the
entrance to the set ; he never fusses about
his dressing room, where it is placed on
the set, whether it is hot or cold, what the
equipment may be. He eats in the com-
missary, and he never sends anything back.
He never holds up production by making
unreasonable demands, by not knowing his
lines, by being unnecessarily late on the set.
He doesn't give presents, as a lot of stars
do, at the end of a picture. This seems
to be a strange reason to give for a man's
popularity. But with the gang he works
with, it is a reason. "He doesn't give
(Continued on page 76)
MODERN SCREEN
IN
"THE ADVENTURES OF ROBIN HOOD"
A WARNER BROS. PRODUCTION
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75
MODERN SCREEN
WHY GABLE IS KING
(Continued from page 74)
JOAN BENNETT
charming star of I Met My Love Again
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76
presents," they say, "because he's never the
big star, condescending, bestowing favours
upon the humble henchmen. It would just
never occur to him to give presents, because
he thinks of himself as one of us, doing his
share of the job as we are doing our share.
He doesn't expect anyone to give him a
present when the job is done. Why should
he do any different from the rest of us?"
''When we were at San Diego, at the
flying field,'' Mr. Strohm assured me, "he
ate his box lunch with the gang. There
were some 7,000 fans gathered about and
he signed all of the autograph books he
had time to sign between takes. When
someone comes up to him and says, 'Oh,
Mr. Gable, I knew you in Dallas!' He
doesn't, half the time, place the person.
But he never lets on. He always says 'Oh,
sure! How are you?'
"No one," said Mr. Strohm, the honest
admiration of one man for another in his
eyes "no one would ever ask Gable for
bread and get a stone, that's sure."
He doesn't do any of the things a star
does to "keep" his stardom. He isn't seen
in the "right places," with the "right
people." As he doesn't bite the hand that
feeds him, neither does he butter it.
"What I say is, he's real," said Johnny
Miller, the props man who has been with
Gable, and how many others, through
many pictures. "What I mean is, he takes
as much interest in the props as I do. And
he doesn't mind putting his own shoulder
to the wheel when there's a job of work
to be done.
"When he was making 'Saratoga' and
he and Miss Harlow were having such
good times together, he used to ride a bike
around the lot and onto the set. One day
he stumbled on the thing, it being too
small, though full-sized, for such a big
man. He laughed and said to me 'How
old's your kid, Johnny?' I told him and he
said, 'Take this thing home to him.'
'Just today he said to me, 'This is the
scene where I wear my wrist-watch,
Johnny.' Now you may be wondering what
that's got to do with anything. Well, it's
got this to do with things — some stars
would a'gone into the scene without the
watch, knowing jolly well they should be
wearing it, and at the end of the scene
they'd have hollered at me about not hav-
ing it. Not that Gable. He takes care
the other fellow's job is as "cushy" as his
own. He's a right guy he is. I knozv."
And so the evidence that you have
chosen a King who is a king kept piling up.
From his stand-in, Lew Smith, I learned
that people have a hard time doing any-
thing for Gable. He never asks or expects
anyone to do anything he won't do him-
self (a lesson to kings). The morning
of the day I was on the set they had done
the scene where the bomber bursts into
flame. Lew .Smith was supposed to pull
a man out of the burning wreck. But no.
Gable did it himself. "Nothing pantie-
waist about him, if you know what I mean,"
said his stand-in.
AND small Martin, aged ten, the news-
boy wliom Clark got into the picture,
young Martin pip-squeaked at me, "Say,
he's okay, Mr. Gable is. He got me a chanct
in this pitcher. Say, I nearly had a chanct
in another pitcher but tlie star of that one
wouldn't have me because lie said I have
a unique poisanality. But Mr. Gable don't
hold tliat against me, not him, boy!"
I learned that Gable says of Tracy, "I
owe a lot to that guy. If it wasn't for' him,
Id probably be playing the one-night hops.
He's the one who made a star out of me."
And when he was asked, "How?" the an-
swer was, "I imitated him." Clark was
referrmg to the old days in the East when
he was doing one show in New York, and
m a theatre next door Tracy was plaving
Killer Mears in "The Last Mile." "'When
I was called to Los Angeles to do 'The
Last Mile' out here I took a look at Tracy
domg the part and hopped the first plane
for Hollywood."
I learned that he says, "There is a prov-
en army rule that it takes ten men behind
the lines to keep one man in the trenches
during war. A picture star needs a hun-
dred times that many men to keep him in
close-ups on the screen, from producer to
props. We couldn't stay put without 'em."
I heard that he says, "You don't have
to put up a front in Hollywood in order
to get along. Look at the best of 'em,
Tracy, Muni, Jimmy Stewart, Wally Beery.
Nothing fancy about them."
And it remained for Fanny Brice to put
the next-to-the-last touches on this por-
trait of a King. Said Fanny, "He's King
as far as I'm concerned. I'd put a crown
on his head any time. He's 100 per cent
man. He looks like he can be awfully
tender or awfully rough. I think the wo-
men is liking that. A man has got to be
bigger than his job, and that's Gable.
He's honest with himself; that's what
makes him a swell actor. Nothing fakey
comes through — and does that come
through on the screen!" Thus Fanny
(Snooks) Brice, with that gleam in her
eye ! Fanny who can add up her troupers
like on an adding machine !
TT was then I got around to Gable, saying,
A "I'm going down for the third time,
it's all foo beautiful — tell me some of your
faults !" And Gable came back, "Sure. I'm
subborn as a mule. I'm impatient, espe-
cially at the end of a picture when I get a
little tired. I have to watch myself, get
irritated at things I wouldn't notice when
the picture starts. I'm impatient, get mad
at things in general, let off steam on one
fellow, perhaps, tell him off. He doesn't
know what it's all about, doesn't know
that he's just the straw breaking the
camel's back. Neither do I know at the
time.
"I'm a little thoughtless — about sending
flovvers and that kind of stuff. I honestly
don't think it's lack of generosity. I
just don't think, especially when I'm work-
ing. It's worse then.
"I'm a dull dog, the dullest bohunk in
Hollywood, no foolin'. Don't know a thing
about music or art. I like 'em all right
but I don't know a thing about 'em.
"I get a laugh out of this Best Dressed
-Man in Hollywood bologna. I've got about
eight suits. When I'm not working I
wear khaki slacks and an old polo shirt.
"What do I think when I look in the
mirror? I've never thought what the heck
I look like. The only exception being
when a cameraman says to me 'Don't look
so much into the camera. Gable,' and I sa\-,
'Why not?' and he says, 'The ears, the
EARS !' Vic and I doped out a swell
ending for this picture. We were going
to have me looking straight into the cam-
era, the ears for wings and then just a
take-oft'. Swell idea, but I guess we can't
do it."
And then Director Fleming called the
man whom you, the People, have elected
King, and told him to get to work.
MODERN SCREEN
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KICKIIG OVER THE TRACES
(Conttnitcd from page 50)
Yet I can't recall anything about the five
years I've been acting sensible and saving.
So I say kick over the old traces once in a
while. It's good for the ego, swell for the
imagination, and beneficial generally."
For years, four to be exact, you've seen
Claire Trevor illuminating program pic-
tures, better known as "Bs" in the trade.
These are quickies made on major lots
with minor budgets, released without build-
up or ballyhoo, save in rare cases like "The
Informer." "B" pictures are designed to
serve as the rear end of double bills. They
are^ run of the mill, pleasantly missed.
Claire Trevor is far too good for them,
yet she has graced twenty-three!
"At first I accepted anything I was
handed, as anyone crashing pictures should.
When the scripts turned out to be crumby
and inconsistent I just did the best I could,
because I figured this was good training
for a tyro, i was learning the angles. But
the program didn't change after two years
of mediocrity. They kept me in 'B' stuff.
"Don't misunderstand me, please. I know
that 'B_' pictures fill a definite want. Mass
entertainment, easy to understand, made to
formula, they're the backbone of studio
production, making possible prestige pic-
tures that invariably lose money. I know
all about why they're necessary, but I
don't want to be in them !"
DEF-ORE any of you go so far as to
*~* envy a lovely blonde like Claire Tre-
vor, remember that her day starts at six-
thirty A.M. in order to get her on the set,
in make-up, by nine.
"Extra girls get up at five-thirty to be
there at seven, to be made up by the crew.
And the crew is temperamental. Artists,
you know. Me, I slap the stuff on my
face in ten minutes or less, and it looks
as good as if I'd fussed over it an hour."
The Trevor features, by the way, are
flawless. Her nose is a pert retrousse, her
lips appealing and her eyes searchlights.
But we were talking about her work-day.
"I'm home about seven, too tired to eat.
Lines for the next day have to be studied.
Then I pound the pillow. You must have
lots of sleep if you want to wake up look-
ing bee-ootiful."
Claire devotes only one night a week to
frivolity. On Saturday she "dates." But
none of your Trocadero or La Maze for
this canny child of the cinema. No photo-
graphers in her freshly waved hair ! So
her private life is her own. No one knows
where she is or with whom. But rumor
links her name with that of a well known
supervisor. Perhaps that is why Claire
was so vehement in her defense of super-
visors, when I casually belittled them.
"Picture executives have been heckled
as pants pressers and lowbrows, but I
know that's all wrong. The supervisors
I've come in contact with are smart men,
well informed and sensitive regarding cur-
rent trends liere and abroad. They know
their box office figures, but they know
what's behind a good picture, too. A much
maligned set of men, the supervisors."
-Actors are handed less by the outspoken
Claire. "The interesting ones are too old.
The young ones are stupid," she said.
"If I could fall in love permanently I'd
marry. I'd drop Hollywood and pictures
in two minutes for marriage and babies.
I don't think you can raise a family and
conduct a career at the same time."
Wouldn't she miss the glamor of the
studios ?
"Absolutely not," said Claire. "I owe
pictures a lot. I've made an unbelievable
amount of money in the last four years.
But it's given me no artistic satisfaction
to be in movies. I've done nothing I can
pomt to with pride. I thought 'Dead End'
was going to mean everything— with a
beautiful script, good director (Willie
Wyler), and topflight cast— but I was dis-
appointed in niy performance when I saw
the picture. I hadn't given what I thought
I had. Or else they didn't use the shot
where I gave the most. That's the trouble
with pictures. You go through a scene
four or five times, then they throw away
the take you liked and print one that you're
ashamed to see. But, of course, besides be-
ing art the cinema is big business. Isn't
It the fourth largest industry? It has to
make money for the stockholders. Every-
- thing is box office."
Rumors had preceded Claire to New
York, rumors that this Eastern trek was
to culminate in orange blossoms. But, "No,"
said Claire, positively. There was nothing
in that. She would marry when she found
the right man, but as we rolled to press
he was still to be encountered.
Ronald Colman she thinks is the most
charming actor in Hollywood. But her
husband will have to be twenty-eight or
nine to complement her twenty-five years.
Off the screen she looks younger than on.
Always trying to be helpful, I mentioned
Cary Grant as a handsome and eligible
mate. "He is fine," said Claire sweetly,
"for Phyllis Brooks."
T IKE most of the boys and girls toiling
^ before the cameras, she cherishes the
idea of returning to the Broadway stage
in a good comedy "with a lot of strong
drama in it," but she has uncovered nothing
that fits that description. Ereddy March
thought he had until he read the reviews.
"I think a home with children would be
the most marvelous thing in the world,"
Claire confessed. "Of course, if I were
married and didn't have children I'd prob-
ably go on doing an occasional picture. I'd
hate complete inactivity. But if you have
children it's a full time job. And I want
a whole lot of 'em.
"Nothing makes me more envious than
a visit with friends who have children.
Hollywood is artificial and insincere in the
main. Children would bring me reality."
If the "B" picture situation doesn't
change for the better Claire proposes to
freelance.
"It's a gamble, but I always have radio
to fall back on. Radio is a swell meal
ticket, too, you know."
On the air she teams with Edward G.
Robinson in a newspaper serial, "Big
Town," conceded to be one of the best
dramatic programs.
"You see," said Claire frankly, "I don't
want to be just another leading lady. And
so I'm going to do something about it!
For two years I took 'B' pictures without
a murmur. Good training, I told my mother.
Sound basis for a screen career. Yes, in-
deed ! But they've kept me buzzing in
the B-hive for four years and no relief in
sight. So one of these days I'm going to
surprise everybody and say, no, this part
is not for me. This picture is not for me.
I won't do another 'B' !"
Those are strong words from a fragile,
glossy blonde with such a demurely lovely
face. But the Trevor chin stuck out de-
terminedly as she spoke and the Trevor
eyes flashed danger signals. So it looks
as if she's about to kick over the traces
again !
MODERN SCREEN
SUMMER STARTERS
(Continued from page 72)
Keep this thought in mind when you see
Glenda Farrell in "Stolen Heaven."
Glenda's clothes in this picture are, as
always, extremely smart and very wear-
able. You should get lots of ideas from
Glenda. Two of her ensembles in partic-
ular I'd like you to note as being perfect
"summer starters."
For general, all-around summer wear,
nothing will ever take the place of^ the
smart shirtmaker frock. The 1938 version
of this summer favorite as worn by Glenda
Farrell shows us that dots are back again
for summer daytime frocks. Distinctive
features that make a classic look "dif-
ferent" are the white pearl buttons all the
way down the front, and rows of white
stitching that finish the patch pocket and
belt and form a border from its hem all
the way around the tailored collar.
While the lines are classically simple,
this year's newest mode is reflected in the
full blouse gathered at the waist (Gibson
Girl influence), and in the skirt gores
which give a gentle fullness toward the
hem.
An "all-purpose" frock, this. It's grand
for office wear, for mornings in town, for
bridge on warm afternoons, or for spectator
sports. In fact, you'll feel a glow of
thankfulness every time you wear it, it's
that right for so many occasions.
As for color Glenda's dress is in bright
blue, but I'd advise you to choose yours in
navy or some other basic color, to give
you a greater variety of accessory combina-
tions. White, pink, bright yellow, pale
blue or green are just a few of the possible
colors to be worn with navy, black or
brown. Red-and-white accessories also set
off navy beautifully. Shoes, hats and
gloves, of course, are accessories that can
be changed about for color effects, and
you can also do many clever tricks with
gay colored scarves, hankies, or wacky or-
naments. Just remember when choosing
these accessories that the shirtmaker dress
is essentially a sports frock, and that good
taste demands accessories in harmony.
IT may cost a little more, but you'll be
repaid many times over if your dress is
of a pure dye silk, which will be fresh
and cool, and wash so beautifully that it can
be laundered every week all summer with-
out fading or losing its shape.
Glenda's other costume, also excellent as
a "summer starter," is entirely difl^erent, a
two-piece jacket frock in two shades of
lightweight green wool.
Now wait a minute, before you say,
"What! wool for summer?" Let me ex-
plain. Believe you me, these worsted sheers
are going to be awfully important this sea-
son. For, paradoxical as it may sound,
they're about the coolest, most comfortable,
most practical things you can wear. The
worsted yarns are twisted tightly to allow
"breathing space," and they're porous to
keep you cool as a cucumber. Besides, these
worsted sheers will not crush or wilt on
hot days, so they make ideal town and
sports costumes.
Glenda's frock in a warm "blotter" green,
piped in a tender leaf green, has a straight
wrap-around skirt and belted hip-length
jacket buttoned up the front with matching
green buttons. The leaf green lapels of the
collarless jacket are matched by the edg-
ings of the four slit pockets. A peaked
hat of green antelope with a black quill
matches the dress.
With two frocks like these, you will be
well equipped to start the summer in your
office, social life, or traveling.
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79
MODERN SCREEN
MOVIE REVIEWS
{Continued from page 8)
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The Joy of Living
In the parade of screwball comedies em-
anating from Hollywood this month, "The
Joy of Living" rates as one of the most
entertaining. It is brightened by sprightly
dialogue and played with zest by an excel-
lent cast, headed by Irene Dunne and
Douglas Fairbanks, Jr.
Miss Dunne is a glamorous movie star
whose life is more than a bit on the dull
side due to the fact that her family, greedy
for her money, keeps her pretty much
under its collective thumb. Along, how-
ever, comes Fairbanks, a romantic and
whimsical young man who owns an island
in the South Seas, and he proceeds to shake
her out of the doldrums. He accomplishes
it by introducing her, among other things,
to the joys of drinking beer and the simple
pleasures of a roller rink.
There is much in the film that is amus-
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hilarity which are reminiscent of "The
Awful Truth." Although "The Joy of
Living" doesn't measure up to that comedy
masterpiece it is still better entertainment
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than most of its type. Irene Dunne, adding
another to her list of rowdy performances,
pleased a preview audience mightily, and
Douglas Fairbanks, Jr., in the p'la3^boy
role, will win new fans with his breezy
performance. A large supporting cast is
capably headed by Alice Brady, Guy Kib-
bee, Lucille Ball, Jean Dixon, Eric Blore.
Franklyn Pangborn and Warren Hymer.-
Directed by Tay Garnett. — RKO-Ra'dio.
"k^^ There's Always a Woman
We have still more riotous whimsy in
"There's Always a Woman."
The picture is a lightly-turned husband-
and-wife story with a murder mystery
background, and serves, happily, to intro-
duce Joan Blondell and Melvyn Douglas
as a team. Lunatic situations arise from the
sleuthing of the ambitious husband (Mel-
vyn Douglas), and the super-sleuthing of
his wife (Joan Blondell). When the hus-
band has to give up his private detecting
and go back to the district attorney's office,
his wife decides to pick up the business
where he left it. She stumbles into a mur-
der mystery, and her frenzied efforts to
solve it keep her popping up in the path of
her exasperated husband, who is working
on the same case. The mi'stery is solved
to nobody's particular credit — but every-
body's had a lot of fun. It's strictly in the
"Thin Man" tradition, but it manages to be
highly amusing without treading on the
toes of its inspiration.
Joan Blondell is lovely in a new hair-
dress and some attractive clothes, and
Melvyn Douglas as a foil is perfect. Mary
Astor, Jerome Cowan and Frances Drake
are good in small parts. Directed by Al
Hall. — Columbia.
i^if^ Her Jungle Love
Remember Ray Milland and Dorothy
Lamour in "Jungle Princess" last year?
Well, they've put Dorothy back in her
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80
MODERN SCREEN
Alice Brady gives Irene
Dunne a few tips on "The
Joy of Living," a sprightly
new comedy.
sarong and her tropical island setting, and
Ray discovers her all over again, only this
time he does it in Technicolor. Everyone
who liked last 3'ear's bit of make-believe
will enjoy this year's installment, because
it is compounded from the same formula.
Miss Lamour is Tura, the beautiful
song-and-sarong girl, whose only compan-
ions are Gaga, a chimpanzee, and Meewah,
a belligerent little lion cub. Into this more
or less idyllic setting comes Milland, who
has brought along Lynne Overman for
laughs. They're a pair of stranded aviators
— if landing on an island inhabited by
Dorothy Lamour can be called stranded.
Miss L. learns English quickly, for a few
minutes after she sings something in her
native tongue she's swinging out on an
American tune with no apparent difficulty.
In fact, the trio has a happy time of it until
they get mixed up with a nasty bunch of
nearby-island warriors who have a quaint
conviction that all white people should be
tossed to the crocodiles. They are about to
follow through on their notion when a
volcano fortunately wipes them out, and a
rescue boat arrives to pick up the three
principals.
Miss Lamour and Mr. Milland are on
familiar ground in this sort of thing, and
they play their roles effectively. Lynne
Overman supplies welcome comedy, and J.
Carroll Naish is a villainous heavy. Two
of the best performances, however, are
turned in by Jiggs, who plays Gaga, the
chimpanzee, and the unnamed lion cub who
portrays Meewah. Directed by George
Archainbaud. — Paramount.
-k^ Judge Hardy's Children
The Hardy family is still going strong,
though we prefer them in their native
habitat rather than Washington, D. C.
The Judge is called to the capital on politi-
cal business in this picture. Though he
thinks it a fine idea for himself and his
wife to have one trip to themselves, it ends
up, of course, with the children tagging
along and stirring up more trouble than is
their custom. If you've seen former "Judge
Hardy's Children" pictures, you can figure
out for yourself that the children are ter-
rific in this one. And very entertaining, it
goes without saying.
The amusing Mickey Rooney is perfectly
cast as the freckled adolescent son, and
Cecilia Parker does an excellent job with
the role of his big sister who "goes
sophisticate" all of a sudden, much
to Mickey's disgust and the family's amuse-
"There's Always a Woman"
and Melvyn Douglas dis-
covers she'll bear watching
if it's Joan Blondell.
ment. Lewis Stone, as Judge Hardy, is an
understanding and unbelievably patient fa-
ther, bringing to his role all the incom-
parable Stone charm.
Another player we can't wax too en-
thusiastic about is Fay Holden as the wife
and mother, but we'd - like to throw in a
word of praise for a new member of the
cast, Jacqueline Laurent, who plays
Mickey's French gal. -She's pretty as a
picture and shows every sign of being
material for bigger and better roles. It's
all good family film fare, though even the
family could probably do with a little less
moralizing. Directed by George Seitz. —
Metro-Goldzvyn-Maycr.
(Continued on page 112)
eO'WAYI YOi/'i<£ )
eOT BAD BREATH/ )
NED «/lS BEEN
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81
MODERN SCREEN
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82
HEARLY NATURAL
(Continued from page 29)
If the proverbial good fairy appeared
offering three wishes there is nothing for
which Deanna would ask.
"Absolutely nothing," she told me.
"She is satisfied with the simple things,"
her mother said. "A dollar gift makes
her happy."
"The family handles my money," Deanna
explained. "I don't even get an allow-
ance. I just ask for what I want. It would
be too much of a nuisance to keep track
of an allowance. I haven't the time."
Indeed, if there is a rift in her horizon
it is this matter of time. If President
Roosevelt would somehow change our nor-
mal, old-fashioned twenty-four-hour day
into thirty-six, life would be pleasanter for
Miss Durbin. She has so much to do.
There is the tutor who travels with her.
"I keep up my studies, you know." ,
There is the little matter of French les-
son:. "And I've got to learn even more
languages if I'm ever to sing at the Met."
And there are the radio rehearsals plus
the arduous learning of new picture roles.
"I don't know which part I liked best.
It's like having several friends and liking
each one for a totally different reason."
One of the major tragedies involved in
having too little time and too much to do
is that Deanna, try as sbo may, cannot keep
up her former school friendships.
"The girls still telephone and come over
to the house, but we are gradually drift-
ing apart. I've had to substitute new
friends — mostly the grown-ups around the
studio. But I will say this, all the old
people act young. I guess the nice ones
are young inside.
"They're always sending me funny pres-
ents. All during one picture we pretended
we were gangsters and kept using that
phrase, 'Regards from the mob,' so Bruce
Manning, one of our writers, sent me an
enormous flashlight." She giggled.
EVEN at this age of fifteen, she has
learned the meaning of nerves.
"I sleep like a top, even on a train, but
I get tense before singing a new number.
I guess that's natural. I lost four and a
half inches around the waist while we
made 'Mad About Music' "
When she is being formal for the in-
terviewer, Deanna speaks of Eddie Can-
tor as Mr. Cantor. But, as we became
more friendly and "less for the press" she
lapsed into "Uncle Eddie."
"I owe everything to him," she said, nod-
ding towards the stage where Cantor was
busy rehearsing his radio act.
Theirs is a unique friendship, Eddie's and
Deanna's. Besides aiding her career, Ed-
die has helped Deanna over the hard
spots. The spots another impresario, sole-
ly interested in the theatre, might never
notice. Spots like that time in Boston
when Deanna, not yet earning big money,
was making a personal appearance.
"My bag was packed and in the car that
waited outside the theatre. We planned
to leave immediately after the show. But
when the performance was over, we dis-
covered the bag had been stolen, and in it
was my new winter coat."
It was "Uncle Eddie" who immediately
bought Deanna another coat, "Uncle
Eddie," who, through his close association
with his own five daughters, knows what
a brand new winter coat, with fur collar,
can mean to a young lady in her teens.
We were sitting in the darkened theatre ;
Deanna twisted a lock of hair. It is rich
brown hair, straight at the top, curly at
the ends, a soft and youthful coiffure.
"A permanent?" I asked.
"No," she smiled. "Nearly natural."
_ I_ immediately thought what a perfect
simile this was, certainly a fitting descrip-
tion of Deanna Durbin and her life. Here
she sat, surrounded by a mama, a tutor
and a manager. The latter constantly in-
terrupting us with, "Don't sit in a draft,
Deanna," or "Here, put this coat over
your shoulders, you mustn't catch cold." At
the same time they may have privately
been admonishing her to be natural.
This is no sob story. For all I know
Deanna's youth is just as pleasant and
far more interesting than the average young
girl's yet, be natural, be natural. A kid who
has lost the time to play with companions
of her own age, to exchange secrets, found
mysterious clubs and swap sandwiches at
lunch hour. Be natural. A kid, who
daren't sneeze. Be natural. A kid, who,
but a few short years back must have
w^orn rompers, and now, when she thought
this interviewer wasn't looking, quickly
blackened her eyebrows with the little
brush she carries in her purse. Be natural.
Why it's a miracle that the girl has
turned out as natural as she is, for Deanna
Durbin appears as nearly natural as any
human could be under those circumstances.
Certainly, she is far more natural than
young Master Freddie Bartholomew, who
once at a Vallee broadcast, floored Rudy,
to say nothing of myself, with his unac-
countable manly poise.
And certainly, she is far more natural
than Bobbie Bieen, who, all during our
interview, could be seen parading up and
down the aisles, greeting various radio
executives with the ease and suavity of an
Let's go to Mexico! Helaine
Moler looks as tho' she could
make a brief holiday there
plenty exciting.
MODERN SCREEN
New Odorono ICE goes on like
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underarm perspiration I to 3 days
experienced, old-hand master of ceremonies.
No, Deanna, thank goodness, resembles
none of her contemporaries. Instead, when
she spied the radio executives, she quickly
whispered, "I can never remember their
names. I meet so many."
That whisper was interrupted by a call
to the stage for a microphone rehearsal.
"I'm singing 'Smoke,' " she explained.
"That's 'Smoke Gets In Your Eyes.' You
have to abbreviate in this business."
And she was off, running down the aisle,
a fifteen-year-old with a fifteen-year-old's
run, only to change before my eyes as she
stood upon that stage, and sang with an
adult fire, "They asked me how I knew, if
my true love was true."
I sat there marveling at this child of
contradictions. One minute, unsophisti-
cated, excitedly telling me that she collects
match boxes and menus from the restau-
rants she visits. Another, almost world
weary, as she admits that after she achieves
that Metropolitan ambition, "I'll probably
quit. I can't last forever."
All the while she is so thirsty for
knowledge that although she has given
up tennis and horse back riding and can
find no time for dancing lessons, she reads
continuously.
"I've just finished 'The Citadel.' I'm now
on 'Northwest Passage.' ''
And staring at her, standing up there on
that stage, balancing herself in those little
flat heeled sandals, I couldn't help remem-
bering the words of a far better writer,
Mr. Henry Wadsworth Longfellow, who
said it all so long ago and yet so well,
words I keep recalling whenever I think
of Deanna and her magic of being now
child, now woman :
"Standing with reluctant feet
Where the brook and river meet
Womanhood and childhood fleet !"
That's Deanna Durbin.
"Tropic Holiday" is full of the
most alluring damsels you
ever saw if Dolores Casey is
any example.
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WHAT'S ALL THE SHOUTING FOR?
(Continued from page 31)
In N ew York he met and fell in love
with Lillian Lamont. There never has
been any other girl. When the mo-
vies took him, she got herself a job and a
srnall apartment in Hollywood, so the
width of the continent wouldn't divide
them. Even Fred's reticence thawed in his
joy at presenting her with an engagement
ring. It was a small diamond. He still
was not in the money. But it was the
symbol of their love and he was proud of
it. When company came he'd hover at her
shoulder and inquire in his best offhand
manner, "Shown them your ring, Lillian?"
Sorrow came to them in Lillian's long
illness following their marriage. Their
house was being built. Having a natural
taste for^ interior decorating, Lillian chafed
at her inability to supervise the details.
Fred would dash back and forth with sam-
ples for her approval, and the moment the
place was at all habitable, he had her car-
ried in so she could lie out on her own
sunporch.
A recent personal appearance trip to
San Francisco reveals him perhaps as
clearly as anything could. The San Fran-
cisco theatre gave five performances daily.
They wanted Fred to appear at all five.
"One," he said, firmly, "and heaven be
thanked if I live through that."
A publicity man went with him — the
same publicity man who, day in and dav
out through "True Confession," had batterei
his head against AlacMurray's reserve in
an effort to get material from him. The
moment they were on the train away from
the Hollywood atmosphere, "Fred was a
different guy. He blossomed out, started
burbling about a duckhunting trip he'd
been on, and talked so well that he fasci-
nated even me, who don't know a pickerel
from a wild goose."
By the time they reached San Fran-
cisco, the P. M. had learned more about
Fred than in all the weeks he'd spent at
the^ studio. He'd learned that Fred was
rabid about hunting and fishing, but that
sports and the pictures didn't comprise his
entire world; that an alert intelligence
kept him abreast of his times: that, as a
topic of discussion, he preferred the latest
bulletins from Europe to his own latest
triumph; in short, that he was a man like
other men, with a mind more stimulating,
more eager to be stimulated than most.
Arrived at the hotel, he first phoned
Lillian. Then he called a friend of his
mother's, then a cousin who worked at the
Alameda airport. Then the press came
trooping. Fred passed the ordeal with fiv-
ing colors.
AS evening drew closer, however, he
lost his sangfroid, "^^'hat'm I going
to say?'' he'd gasp at intervals. The P. M.
offered a suggestion or two that didn't
make Fred any better. Dinner was sent
up. Fred eyed a chicken sandwich with
distaste, picked it up, took a bite, laid it
back on the plate and retired to his bed-
room. At the theatre, he found himself a
dark corner in the wings and sat there
shaking. The P. M. stood silently by,
waiting to push him out. Harry Owens,
the orchestra leader, was making a polished
little speech of introduction, an elegant
gem that was bound to show Fred up
worse than ever. The P. M. stole a glance
at him. He was clammy-looking. Per-
spiration stood out on his brow.
"He'll never make it — he'll never get out
to the middle of that stage," thought the
P. M. wildly.
Harry Owens' eyes turned toward the
wings. "Here's Fred MacAIurray," he an-
nounced.
Fred walked out under his own steam.
He spoke, and his voice was steady and
his words made sense. The P. M.'came
out of his private bout with the tremors to
discover that the words were not only
making sense, but drawing laughter and
applause. The audience liked Fred. Fred
liked the audience. He talked to them for
three or four minutes, as affably and
naturally as if they were all his friends.
Which they were b}- the time he got
Forhan's im
CLEANS TEETH • AIDS GUMS
John Barrymore, Gladys Swarthout and John Boles spend their rest
time on the set playing 3-handed Casino. Is it that Mr. Barrymore
needs watching or just that it is his turn to play? At any rate,
he seems to be giving his hand a thorough studying.
MODERN SCREEN
Priscilla Lane and Wayne Morris
did so many retakes on this scene
for "Men Are Such Fools" that they
learned to like it, and now it's part
of their daily routine.
through, for they rose to their feet and
cheered him lustily.
"When did you make up that speech ?"
the P. M. inquired in the cab later.
"Part of it while I was wringing my
hands in the corner. The rest when I saw
there wouldn't be any tomatoes to dodge."
He was so pleased that he blurted out,
"Gee, that was fun. I wish Lillian could
have been there."
San Francisco was ready to turn itself
over to him. The authorities begged him
to stay and let them show him the town.
He'd like to have stayed. But he'd told
Lillian he would be home next morning,
and home was where he was going to be.
Home is a structure of gray stone and
white wood in Belair, green-roofed and
green-shuttered, with no more pretentious-
ness than its owners. The seven or eight
pleasantly furnished rooms create an atmos-
phere of warmth and intimacy. Lillian
planned it all herself.
He pretends to a certain masculine scorn
of what he calls their "doodads."
"How's the house furnished, Fred?"
"I dunno. Early American on the hoof
or something."
"What color's the dining-room rug ?"
"Looks plain red to me. Ask Lillian.
She'll tell it to you fancy." It turned out
to be Dubonnet.
Yet it may be noted that, when Lillian
is showing the house to visitors, Fred is at
her heels, gloating innocently if he thinks
himself unobserved, turning nonchalant
when somebody catches him at it.
Their most frequent companions are
Taylor and Stanwyck, Ray Milland and his
lovely wife, Muriel. The boys play black-
jack while the girls knit.
When, out of a clear sky, MacMurray,
the unknown, was cast opposite Colbert in
"The Gilded Lily," his thoughts ran some-
thing like this : "Here's a great star, and
here am I, a punk, and she won't want
to work with me, and Til mess the whole
thing up." The first scene required him
to take her arm, and walk down the street.
His arm shook so violently that Claudette's
shook with it.
Essentially, he's the same MacMurray.
While he no longer trembles at the call of
"Camera !" he'll never forget the time
when he did. You may groan at the thought
of extracting information from him. Be it
said, however, it's the only thought con-
nected with him that you do groan about.
lends
a helping hand
PAUL LUKAS
Favorite actor of
stage and screen.
^^^^
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was understudying the star in another
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85
MODERN SCREEN
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RDNNING AWAY FROM IT ALL
(Continued from page 39)
re-presented in current accounts of Mr.
Astaire's glamor and charm. Let Astaire
see one of these to-be-printed accounts,
however, and he insists upon deleting all
references to his past.
But when Astaire really reveals his
escapist tendencies is when he runs from
his fans_. His pet stunt, when traveling to a
destination where his arrival has been
heralded in advance, is to hide himself in
the back of his station wagon. Then, before
fans are aware of what a precious load the
insignificant looking car is carrying, he
jumps out agilely and runs.
Of course, antics such as these are not
serious and do not afifect, in the slightest,
Mr. Astaire's ability as a performer. They
merely make him seem silly.
Miriam Hopkins had a regular field day
with the New York press '"ecently. At
first, she refused to see anybody.
Later, suddenly and agreeably, she in-
formed her representative that she would
be happy to devote her last day in town
to meeting the press. Accordingly, the time
was booked, and appointments staggered
at half hour intervals through the day.
Came the morning and Miss Hopkins
as suddenly decided she couldn't take it
after all. But neither could she bring her-
self to break her decision to anybody. She
kept it a secret and just ducked. AH day
long the Hopkins doorbell rang regularly
each half hour as eager reporters mounted
her doorsteps, and sadly trod down them
again. Where Hopkins was, nobody knew.
CYLVIA SIDNEY shows fleet feet and
runs away from it all whenever she
wants to, which is often. She, of course,
has no repressions about not taking it on
the chin and as a result of some of her
actions can safely be nominated as Holly-
wood's Tantrum Girl.
For example, when she refused to have
her picture taken upon arrival in this
country on the Berengaria, she told
photographers flatly, "I don't feel like it
and I won't." They got the pictures any-
way which showed Sylvia pouting.
An amateur camera hound in California
did the Gotham boys one better when I.e
snapped her getting off the train in San
Bernardino with an even more petulant
look upon her dark face and sent the
picture into a news service with the unkind
caption : "Sylvia Sidney Arriving in San
Bernardino Evidently Expecting to Meet
Somebody Who Didn't Aleet Her."
Solution to Puzzle on Page 12
86
MODERN SCREEN
Fay WrAYS Beauty Method
can bring you, too, a
Glorious "(^a^mm^^
Even California in the rain
has its charms when Mary
■ Carlisle comes along looking
like this.
Aren't there any glamor girls who can
take it? Aren't there some adults in the
Hollywood lineup who have proved them-
selves under trying circumstances?
Certainly. There is Bette Davis, _ for
one, who had to swallow about as bitter
a pill as has been given to any star, when
she was forced to return to work at her
studio after suing the firm to get out of
her contract.
Bette stuck out her chin and took the
rap. She came back to Hollywood gracious
and smiling. She said, "I've been beaten
and I have to go back to work where I
don't want to, but I am going to make
myself like it."
The sequel to her display of sportsman-
ship was that her studio tried to show
themselves equally big. They filled her
dressing-room with flowers, gave her a
much coveted picture and engaged Edmund
Goulding to direct her.
Marlene Dietrich has a peculiar "off
with their heads" manner of shifting
responsibility. When she wants to run
away from the consequences of an un-
fortunate action, she is apt to dump the re-
sponsibility in the lap of somebody less
important than herself. For example, when
— all on her own — she expressed herself
indiscreetly to the press on conditions
abroad, she blamed a poor press agent who
certainly had had nothing to do with her
speaking her piece. He couldn't stop her
but he almost lost his job.
Where is this current epidemic of run-
ning away from it all, of not taking it on
the chin, going to lead? Probably not any-
where ! The bright stars will recover ;
the stupid won't, but meantime life will go
on just the same.
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87
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88
FANNY'S FOLLIES
(Continued from page 37)
well, she hfid the privilege of skinning
her knees on the pavement of the next
block, then.
Her natal day was October 29th. But
what year? You can only guess. Fanny,
woman-like, isn't telling. And your guess
may be five years out of the way, even
taking into account the number of years
she has been a star and — a mother. She
started young.
_ Tall, she has a non-matronly figure, the
vitality of a six-day bicycle rider, and a
face too mobile for the years ever to have
a chance to imprint themselves there. She
is practically as young as Baby Snooks.
Her parents were Charles and Rose
Borach, whose closest approach to the
stage, up to the advent of Fanny, had been
two seats in the gallery. They suspected
almost immediately that they had produced
the world's most irresistible mimic, this
being a common failing of parents, the
world over. But they never had a chance
to rid themselves of the suspicion. It grew
as their offspring grew. Until, finally,
Rose Borach agreed with her persistent
problem-child that she "ought to be on
the stage."
Not that Fanny was a problem-child
after the manner of Baby Snooks. Not that
she lacked imagination. She had too much
of it.
"I hated school. And school hated me.
Ask me to spell 'cat' today, and I couldn't
tell you. I never was in any one school
long enough to find out. Those I didn't
run away from, I was thrown out of. You
couldn't print some of the things I did to
get thrown out. They'd give the younger
generation ideas. And the younger genera-
tion has enough ideas already, without
starting any more trouble:"
One morning she was dodging a large
flat-footed gent in a blue coat with brass
buttons. She saw an open door with pitch-
darkness beyond. Instinct told her that
way lay escape. She scurried through the
door into the darkness. It was a theatre,
getting a morning airing before the day's
performances. She hid under some seats
until paying customers began to arrive.
Then she took a seat herself. She dis-
covered show business. And her eyes
popped.
It was a ten-twent'-thirt' variety theatre,
rowdy and lowbrow. But to Fanny, who
had never seen any drama except the turbid
drama of life in the slums, never heard any
dialogue except the many-accented clamor
of the Ghetto, this was a new and won-
drous world. An exciting and challenging
world, in which you stood a chance of get-
ting applauded by somebody besides your
family — who laughed at you, even when
you were serious. ;
She went back. She discovered other
theatres that aired out in the mornings.
She relived every show in mimicry.
THEN I heard about Amateur Nights.
They had em, even in those days.
That's how I started. We were living in
Newark, New Jersey, then. I was thirteen
— tall and scrawny, a scarecrow in skirts.
I had never seen a musical show, but some-
body told me that scouts for musicals
sometimes went to these Amateur Nights.
I'd never had a voice lesson in my life, and
I didn't know music was written in 'keys.'
The only keys / had ever heard of were
door keys. But I went out there singing
— a little number entitled 'When You
Know You're Not Forgotten by the Girl
You Can't Forget.' "
She hummed a few measures. "I guess
the audience thought I was starving to
death or somebody in my family had died. 1
They gave me first prize."
Fanny went looking for other Amateur
Night worlds to conquer. She won more
first prizes. And her luck held when her
family moved to Brooklyn, then to New
York. On occasion, she invaded the
Bronx, famed even then for its own in-
dividual cheer. But the Bronx gave
Fanny only more first prizes.
"I thought I was pretty good." Fanny
raised her eyebrows, as a commentary on
the self-deception of adolescence. "I kept
pestering Mom to let me quit school and
go on the stage. Then one day I saw an
ad in the paper. A woman — we'd better
skip the name, though she's probably us-
ing another one now — was offering stage
careers to 'new beginners.' Not just be-
ginners. A'ezv beginners. That was me.
Mother and I went down to see her.
"This woman said she could make a
great actress out of me for two hundred
and fifty dollars. We talked a couple of
hours. She finally said she could make a
great actress out of me for thirty-five dol-
lars." Fanny grimaced, sardonically. "So
we signed up. For thirty-five dollars I
was going to be a great actress. Not only
that. I was going to have 'some wonder-
ful clothes.' Who could doubt it? This
genius promised.
"She tells me to report at her hotel for
rehearsals the next Monday. I report, and
I don't see anybody else there. This goes
on for a week. Then I say something
about the 'wonderful clothes.' Oh, she's so
glad I reminded her. She'll measure me
for them. So she measures me for another
week.
"I don't know why all this is happening.
I don't know she's drumming up more cus-
tomers. All I know is : I'm not becoming
a great actress. But the week after, when
I go back, I find a room full of perform-
ers. We're going to put on a play called
'The Ballad Girl' — with rented costumes.
"We open in some little town in Pennsyl-
vania. (I never thought I'd forget the
name of that burg!) We make up by
candlelight. And before we can use the
dressing-rooms, we have to take an after-
noon to clean them. I mean / have to take
an afternoon to clean them.
"I know by this time that I'm not the
leading lady. My big-hearted benefactress
promises me my turn is coming, in the
next play. Meanwhile, I have my doubts
about my costume. It's a yellow cheese-
cloth dress — cheesecloth, so help me — that
comes up to here." Fanny tapped her
thigh. "I make my first entrance on the
stage as a great dramatic actress like this."
She rises to illustrate. Her eyes register
coy terror. Both knees are bent in a semi-
crouch, and both hands are frantically tug-
ging downward at her skirt.
"We're living at a boarding house. That
night, the landlady's daughter knocks on
my door, and says, 'Oh, you were grand.
But why did you walk around like that?' "
Fanny illustrated again, with devastating
effect. " 'That dress.' I tell her. 'I felt
like I was walking in the ntide.'
"I have some little diamond rings and
earrings. My great dramatic teacher gets
those away from me — 'as a loan.' But we
can't afford the boarding-house, even after
she hocks those. We have to move to a
broken-down hotel. Nobody's coming to
our show. So Mrs. So-and-So says we'll
put on a new one, 'The Royal Slave.' And
i
MODERN SCREEN
I'm to be given 'a big important part.'
"She discovers I can sew. So she puts
me to work on a fancy Spanish gown. I'm
up all night, sewing. And what do / get
to wear ? A bandana around here" — she
indicated her chest — "and here" — her hips
— "and that same yellow cheesecloth dress.
I wear the yellow cheesecloth in my Big
Dramatic Scene.
"This is the scene in which my cruel
stepmother forces me into a matrimony
worse than death. We need a bridal veil.
So Mrs. Great-Dramatic-Teacher helps
herself to a little net curtain in the hotel.
My big moment arrives. Here I am, stand-
ing outside the door in the scenery, wait-
ing for my cue. I'm so excited, I forget
the door has to open toward me. I hear
my cue, and I push the door. It goes
about this far" — she held her hands a foot
apart. "What to do? I've had my cue.
I ve got to get out on that stage, somehow.
I can't hold up the show. So I start
squeezing through that opening. Me, in
my yellow cheesecloth dress and fake wed-
ding veil. This is a very intense scene,
mind you. Well, I finally make it. But by
that time the audience is screaming itself
to death with hysterics. •
"And that isn't all. After the show, I
find the hotel manager waiting outside for
me. He has recognized his curtain, and
he zvants his curtain.
"In 'The Royal Slave,' the villain meets
a gruesome end. He is swallowed by an
alligator. The next night, I'm the alli-
gator. I wear the alligator's upper jaw
over my right arm, and the lower jaw
over my left arm, and when the villain
takes his fall, I reach up the two jaws
where the audience can see them, and
clamp them together. I'm lying on my
elbows behind a low piece of scenery. I
lie there twenty minutes. I work up a
big sore on each elbow. But does anybody
care? Mrs. So-and-So tells me, 'You
were wonderful ! So realistic ! Nobody
else could possibly do it like you !' " Fanny
chortled, grimly amused by the memory of
that dismaying flattery.
I WAS tired of the deal I had been get-
ting— sure. But I was only fourteen,
and I wanted to be an actress. Maybe I'd
get a chance yet. I stuck. Two weeks
went by, and nobody saw any money. The
show had closed. Mrs. Great-Dramatic-
Teacher said she was waiting for money
from New York. Then we'd go on to an-
other town, and change our luck.
"The hotel had a writing desk in the
lobby, with a mirror above it. One night
I was sitting there, writing my mother
what a great success I was. In the mir-
ror, I saw Mrs. So-and-So and her boy-
friend tiptoeing past the door, carrying
their luggage. They were jumping the
show. Another girl and her mother and
I followed them — to the railroad station.
There wasn't any use going back after our
bags. There wasn't anything in them. Mrs.
So-and-So had got it all. So we hid till
the train came in. Then we boarded the
back end of the car they boarded. When
the conductor asked for our tickets, we
pointed up front and said, 'They'll pay for
us.' Were we happy !
"The girl and her mother didn't have
anywhere to go in New York, so I took
them to my house, and they lay around for
weeks, until my mother finally put them
out. The next time I went on the road my
mother said, 'Good luck, and goodbye, and
don't bring no more good-for-nothings
home with you.' "
Fanny, ever since her encounter with
that phoney woman dramatic teacher has
been different from most other women.
It cured her of bargain-hunting.
"Before I did the burlesque show,
though, I worked in a motion picture
juul A nUVc u nL -M.^--M.^^^,e^
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Brown. I never have any <l,iti s." I'd correct that mi-lit ni.iki up." and her tip abdut inaki u[j."
7^ ^ «.tWf ^^f^ii)^ ^^^62.^
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house on Second Avenue. I didn't do
much._ Just sang illustrated songs, played
the_ piano, painted ad signs, sold tickets
while the ticket girl ate, collected them
while the doorman ate. The ticket girl
saw an ad in the paper for chorus girls for
a new Cohan and Harris show. I walk
in, and Sam Harris gives me a contract for
twenty-three dollars a week.
"I still hadn't seen a musical show, but
here I was in one without knowing my left
foot from my right. And I was supposed
to dance! I thought to myself, Tf he'd
give me this much as a dancer — what
would he give if he heard me sing?' The
first thing we had to do was a song num-
ber. I started holding onto the last note
when everybody else let go. He barked
out: 'Whoever's holding those notes so
long, stop it !'
"Now came the dancing. He got one
look at me, and said, 'Back to the kitchen
for you!' I was fired. I went downstairs
to the dressing-room and cried and cried.
But no one came, no one cared. I ran out
of tears, and started wetting my eyes from
the faucet — and still no one came. I went
home and told my mother, 'They said I was
too thin.' I said to myself, 'Maybe you're
not good enough for Broadway.' So what?
So I wasn't going to break my heart. I went
into burlesque (Hurtig and Seaman's).
"The company was going on the road.
I_ filled my bag with all the clothes I had.
I'd offer one girl a shirtwaist if she'd
teach me one routine, and another girl a
chemise if she'd teach me another routine.
I was down to one skirt and one shirtwaist
—well, practically— by the time I found out
how to order my feet around.
"I was in the last row of the chorus.
That wasn't enough for me. I worked up
to the second row, then to the first row.
That wasn't enough, either. Every show
had a chorus girl contest. I kept winning.
They made me understudy to the soubrette.
"She was a big, strong Italian girl.
'She'll never get sick' I said to myself.
That's what she thought, too. But what
should happen — accidents again, you see —
but she develops a big abscess behind her
ear. It gets as big as a grapefruit, but she
wont give up. She covers it with a big
pink bow. The thing hurts, but she's afraid
to let me play the part. Then, one night in
Cincinnati, she's just coming in the stage
door when the abscess breaks. The sou-
brette is on next. They push me on, all ex-
cited and wild-eyed. But the people ap-
plaud, they keep calling me back. When
the soubrette gets well, she's in the chorus,
and I'm up front.
"After that, I'm the headliner at the Co-
lumbia Burlesque House in New York. I'm
very ambitious. I'm a ballad-singer. Then
I try an imitation of Joe Welch, Jew
comedy, with a derby pulled down over
my ears — and I almost get the hook. I try
other characters. I know all the dialects,
after the Ghetto. The audience begins to
go for them. But my first real hit in dia-
lect is — you guessed it — an accident. I go
to Irving Berlin's publishing house for a
couple of new songs. Irving sings me
'Yiddle on the Fiddle' and 'Sadie Salome.'
He sings with a Jewish accent. I sing
them the same way, just to see what will
happen. They bring down the house.
"That was where Ziegfeld discovered
me. Just about the way the movie had it.
Only there was a different reason why I
didn't believe 'em when they said Ziegfeld
was outside and wanted to see me. A few
weeks before, a woman named Miss Zieg-
feld had been down. She had 'a great
song' she wanted me to sing. Afterward,
I showed her card around, with my thumb
over the first part of her name." 'See?
Ziegfeld's after me !' So when they said
Ziegfeld was outside, sure, I thought they
were kidding me.
Gary Cooper referees while
Sheila Darcy and Edward
Everett Horton have a spirited
game of "Tit-Tat-Toe" on the
set of "Bluebeard's Eighth
Wife."
"He told that he found me on a street
corner in the Ghetto, selling papers. He
knew I had once — and he thought it was
a good publicity angle. 'From newsgirl to
Follies.' I didn't care what they thought.
I was in the Follies !
"I made my first Broadway hit — this was
probably another accident — with a coon
song, 'Lovey Joe.' I don't know what
made me sing it. Nerve, I guess. But
coon ballads and I sort of got along.
"I was with Ziegfeld fourteen or fifteen
years, and never had a written contract
after the first one. It was all verbal. He
was a wonderful man. I would say I'd
like to try a number. 'AH right,' he'd say,
'we'll try it.' I can't rehearse. I can't get
up in a room and act. I have to have an
audience. But I could go into Ziegfeld's
office and play as if I were on the stage.
He was as good as a standing-room-only
house."
Fanny wasn't any too popular with some
of the other Glorified Girls. But she didn't
let that worry her. She had more im-
portant things to think about.
"They hated me. They called me 'the
curbstone comic' I wanted to be every-
thing, do everything. That was all right,
as I look back now. I was learning things.
Dancing, for example. That came in handy
when I wanted to burlesque 'The Dying-
Swan' and 'Spring Song.' You can't bur-
lesque something until you know how to
do it straight.
THE smartest thing I ever did was to
notice that all the big-timers were nat-
ural. That was why they were big-timers,
sure of what they were doing. You don't
have to be conceited to be sure of yourself.
Just honest with yourself. And that goes
in any life, not only theatrical life.
"Your audience does what you do. If
you're comfortable, they're comfortable.
If you work hard, they sweat, too.
"Do you want to know the most uncom-
fortable performance I ever gave? In 'The
Great Ziegfeld.' I can be comfortable
every time, if you give me a character to
play. I've always played characters, ex-
cept that once. They told me, 'You're not
going to play a character. You're going to
play Fanny Brice.' I didn't know where
to start. 'What am I like?' I wanted to
know. If I played Fanny Brice the way
Fanny Brice is away from audiences I'd
be playing straight. And I couldn't be
comical unless I was acting, playing a char-
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acter. That's the hardest work I ever
did in my life. In 'Everybody Sing,' that
was dii?erent. I was a character. I had
a better time, and audiences had a better
time watching me.
"Funny thing. I don't remember any-
thing tough about getting started. Noth-
ing's ever tough when you're a beginner.
Trying to get somewhere is too much fun.
The tough part comes when you arrive —
trying to stay there."
Despite her individual brand of clown-
ing, she doesn't write her own material.
The only thing she has written is the skit,
"Mrs. Cohen at the Beach," which has
grown to a whole catalogue of Mrs. Cohen
skits. Another surprising Brice admission :
she isn't amazed at the success of her Baby
Snooks, or Snooks' rivalry with Charlie
McCarthy as the rage of the day, or the
demand for a Baby Snooks comic strip,
Baby Snooks dolls, Baby Snooks this, and
Baby Snooks that.
"I'm amazed that it has taken this long.
I put her on the air five years ago for the
first time. I've always had her up my
sleeve. And speaking of Snooks" — she
pronounced it Schnooks — "that was some-
thing else that just happened. When I was
a kid, I always wanted to play Topsy in
'Uncle Tom's Cabin.' Now I'm getting it
out of my system. Snooks is just a white
Topsy. Anything that Snooks does or
says, Topsy might do or say."
CONSIDERING that she is a come-
dienne, America's top comedienne to-
day, her biggest hit on the stage could al-
most be considered an accident. She made
that hit with the song, "My Man."
"I always wanted to do a 'sad' song —
just to prove I could do something serious.
Ziegfeld had this song. A semi-operatic
star was going to sing it. Then, one day
he said to me, 'You know, Fanny, I think
you could do that song.' I don't know
what made him say it ; he probably didn't,
either. I said, 'You think I could? Just
give me the chance !' The first night I
sang it I died a thousand times. I was
afraid they'd laugh when I got up to be
sad. When they didn't that was the big-
gest thrill of my life."
Fanny's poignant singing of "My Man"
touched the heart-strings of America. For
behind the scenes, Fanny at that time was
suffering poignantly. Her man, Nicky
Arnstein, the father of her two children,
was in serious trouble — trouble that finally
wrecked their marriage, despite her loyalty.
All that is a faraway memory now, some-
thing Fanny does not mention. Proudly,
she does talk of her two children, both with
her in Hollywood, where, by the way, she
hopes to stay. ("They'd better keep me.
I've bought a house.")
"My boy Bill is sixteen. He paints, and
I think he's really going places. I've al-
ways painted, still do. Time was when I
didn't know whether I wanted to be a
dressmaker, an artist or an actress. I
thought the stage would probably be the
most fun, and I could still paint and sew.
My girl Frances — she's eighteen — hasn't
made up her mind about her future. I don't
think she'll be a singer. She can't carry
a tune !"
Many things have happened to Fanny
Brice. But happy marriage is not one of
them. • She has been married three times,
divorced twice, and her third marriage, to
Billy Rose, the theatrical producer, has re-
cently been the subject of on-the-rocks
headlines.
She told me, with a half-wistful, let's-
make-the-best-of-it smile, "It takes courage
to be a comedienne. You can't have suc-
cess as a comedienne and have romance,
too. No man ever fell in love with a
woman for her sense of humor."
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$5.00 Prize Letter
Don't Blame Hollywood!
When our movies relent and muster all
their potent forces towards a picturization
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numerable "Dead End" sections of our
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macabre environment ; when Hollywood
halts its musical extravaganzas, its grade
B mediocrities to present a slice of life, our
hats should be doffed!
But — and the pity of it — when our au-
diences manifest so pathetic a lack of un-
derstanding and appreciation of the trage-
dies of the lives unreeled before them ;
when they indulge in loud, abandoned guf-
faws at the "antics" of the embryonic gang-
sters in "Dead End" ; when they fail to
sense the tragic undertones that run
through the youngsters' "capers;" vi'hen
their only comments consist of "The kids
were swell" ; one senses the futility of any
serious effort on Hollywood's part.
Is Hollywood, then, entirely to blame
for the plethora of inconsequential movies
that flicker across our movie screen ?
— Fred Rosenberg, Brooklyn, N. Y.
$2.00 Prize Letter
Del Rio Can Take It
Oh you Candid Cam, are you mean to
them there Hollywood gals ! You sneak
around and catch them shaking sand out of
their eyes in the morning — truly not the best
time to snap any gal, let alone a glamor
gal. You invade their baths, their exercise
routines, even their shampoos. You strip
them of every shred of loveliness, every
vestige of the beauty that thrills us poor
everyday mortals on the screen. It's get-
ting so a gal can't squirt grapefruit juice in
her eye without the nation knowing about
it!
Ah, but there is one, Cam, who resists
all your efforts to distort. One whose
beauty is so real that even you cannot find
a flaw. Siie is Dolores Del Rio. We have
yet to come upon a picture of her that looks
like a cross between a scarecrow and a
sideshow freak. Snoop and spy as you like,
you cannot catch Del Rio in an ungainly
pose, for the simple reason that she isn't
ungainly.
You have met your Nemesis, Candid
Cam. May we appoint you, Dolores Del
Rio, Queen of the Candid Camera subjects!
—Airs. John Allman, Buffalo, N. Y.
$2.00 Prize Poem
A Yell for Danielle
Ric-a-racquer ! Fire cracquer ! S'il vous
plait !
Let's raise a yell for the latest gal from
across the way.
She can look dumb with more aplomb
Than simple simple Simone Simon.
Whieux ? Yieux ! Whieux ? Yieux !
Whieux, Darrieux ! Darrieux ! Darrieux !
Tar-blood ! Whack-thud ! Cinema est
egal !
They'll make you a queen of the silver
screen if you can't act at all !
They'll harrieux and carrieux.
And after a while they'll burieux.
Whieux ? Yieux ! Whieux ? Yieux !
Whieux ? Darrieux ! Darrieux ! Darrieux !
Black ! Red ! Nuff sed ! Vive le W. C. !
Another stooge from the Moulin Rouge to
stimulate industry !
They've discovered your frame will add to
your fame
But half you make the Feds will take.
If your husband hadn't accompaniedieux,
I think I'd like to marrieux !
Yes yieux, Darrieux, just yieux, yieux,
yieux !
— Ray Williams, East Cleveland, Ohio.
$1.00 Prize Letter
A True Actor
One who earns his laurels should cer-
tainly be given opportunity to wear them,
and to add to his collection of honors. I
am referring to a fine and versatile actor —
Spencer Tracy.
He used to play rather unsympathetic
"tough guy" roles in pictures, and yet, he
managed to steal a majority of the most
dramatic scenes from the more well-known
players whom he supported.
Soaring to starry heights as the fighting
priest of "San Francisco", holding firm in
"Big City" with Luise Rainer, and topping-
it all with his immortal performance as
Manuel in "Captains Courageous," he must
be given parts that are worthy of his su-
perlative ability as a fine actor — and by "ac-
tor" I mean one who depends not on his
handsome face but on his talent to put him
across.
■ — Floy Wooten, Memphis, Tenn.
$1.00 Prize Letter
The Flynn Feud
Anne Park's "Slap in the Face for Errol
Flynn" in the March issue of Modern
Screen made me furious, to sa\^ the least.
Since you state your opinions so bluntly,
Aliss Park, here are mine !
Errol Flynn is undoubtedly the most nat-
ural star on the screen, a grand actor, and
9?
MODERN SCREEN
N' ME
Have you voiced your pet peeve or joy concerning
moviedom? Nine cash prizes given every monthi
The Errol Flynn feud continues '
as an irate young lady from
Philadelphia speaks her piece.
one of the handsomest men I have ever
seen. A little more of what you term "ego"
would improve many actors — it is really
just the self-assurance which makes all his
movements easy and graceful. He im-
presses me as a most delightful person to
know, and I envy anyone who has the
privilege of being his friend.
As for his being domesticated, that's im-
possible ! He is as much the rover as ever
as he proved in his trip to Spain. He is all
the more refreshing for it ; his travels have
given him more color and glamor than
Taylor and Power could ever have.
As for his fights with Mrs. Flynn, whose
business is it but their own? Because of
his being in the limelight every scrap they
have gets into the tabloids. His so-called
slurs at womanhood? Ridiculous! He is
noted above everything else for his gallan-
try.
. Errol Flynn isn't half appreciated for
what he is — he has brought to the screen
color and verve that have been missing
since Valentino. He has everything he
wants in life plus the admiration of mil-
lions. You pity him? I envy him — Mary
Slaughter, Philadelphia, Penna.
$1.00 Prize Poem
Char-Actors
When stars magnificently emote
According to their separate codes,
No lump arises in my throat,
I'm busy watching Erik Rhodes.
The heart-throb lies upon a mat
And passes out with gesture sportin',
While I am laughing with and at
The grimaces of E. E. Horton.
COURSE I'M yOUNG
BUT 'MlOPLE-AGE'' SKIN
ALMOST GOT ME/
REAP THIS Gffil'S STORY/
WHERE'S BILL
THESE DAYS?
HAVE you TWO
HAD A SPAT?
NO, BUT HE hasn't
TELEPHONED. ANP
THE LAST TIME WE
WERE OUT TOGETHER,
HE DID NOTHING BUT
RAVE ABOUT JANE,
AND HER
"schoolgirl
complexion"/
WELL, MEN ADORE LOVELY
COMPLEXIONS-AND yOURS IS SO
DRy, LIFELESS, COARSE-LOOKING
LATELY! REGULAR "MIDDLE-AGE"
SKIN/ MAYBE IT'S THAT SOAP
you're using... WHY NOT
CHANGE TO PALMOLIVE ?
WHY WOULD
PALMOLIVE
MAKE SUCH A
DIFFERENCE ?
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too, that your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize. $5; two
second prizes of $2 each; six
prizes of $1 each. Address:
Between You 'n' Me, 149 Madi-
son Ave., New York, New York.
BILL RAVES ABOUT MV COMPLEXION,
NOW THAT I USE ONLY PALMOLIVE,
THE SOAP MADE WITH OLIVE OIL TO
KEEP SKIN SOFT, SMOOTH, /OUNG-/
BECAUSE PALMOLIVE IS MADE WITH ^
OLIVE OIL... A SPECIAL BLEND OF OLIVE
AND PALM OILS, NATURE'S FINEST
BEAUTY AIDS/ THAT'S WHY IT'S SO GOOD
FOR DRY, LIFELESS SKIN. IT SOFTENS
AND REFINES SKIN TEXTURE.'
CLEANSES SO THOROUGHLY TOO.
LEAVES COMPLEXIONS RADIANT/
03
ANY CtiILD
COULD KEEP
A TOILET
CLEAN
AND PURE
))l
ill
♦
»)
ii)
♦
)I)
»)
H)
»)
]»
♦
)))
No MORE scrubbing toilets. No
more smelly disinfectants. You
don't even touch the bowl with
your hands. Sani-Flush is made
scientifically to clean toilets.
Just dash a little in the bowl.
(Follow directions on the can.)
Flush the toilet and that's all there
is to it! Stains and spots vanish.
Odors are banished. Germs are
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amount of scrubbing can reach is
purified. The bowl glistens like new.
Sani-Flush can't injure plumbing
connections. It is also effective for
cleaning automobile radiators (di-
rections on can). Sold by grocery,
drug, hardware, and five-and-ten-
cent stores. 25c and 10c
sizes. The Hygienic Prod-
ucts Co., Canton, Ohio.
CLEANS TOILET BOWLS WITHOUT SCOURING
SeftFASHION MODEL
Attractive girls and women study
Fashion Modeling the Hollywood Way.
Professionals earn $25 to $100 weekly.
Send 10c in stamps for booklet B to
ANNE ARDIS
Box 422 Hollywood, Calif.
To Shampoo
Blonde Hair to Keep It
Golden and Lustrous
RIonde hair reciuirca special care If you would preserve
Us lovely Kolden beauty. Even the most attractive light
hJ:lr will fade or darken with age. To keep your hair
charming and alluring, wash it with New Blondex, the
amazing blonde hair Shampoo and Special Rinse. Costs
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94
MODERN SCREEN
When heroes battling hungry sharks
Require a practicing physician,
I'd have them buried by Ned Sparks,
That mirth-provoking, mad mortician.
You see, I'm not a Big League Fan,
Who totes an album seeking signers
And raves about some Greek God's "pan,"
I sing my praisies to the Minors.
—Catherine Delaney, New York City.
$1.00 Prize Letter
Barbara's Sincerity
Barbara Stanwyck is the most talented
actress on the screen. She is so honest
m portraying characters. No matter what
part she is playing, she plays it with a sin-
cerity that makes the audience feel with
her. In "Stella Dallas" she played the title
role so well that I lived through all her
emotions with her.
I wonder how many of Hollywood's
"glamor" girls would be willing to act as
Barbara did in "Stella Dallas." Wouldn't
they have left out the vulgar parts for fear
they_ would cheapen themselves? Barbara
didn't, and that is why, in my opinion, she
is the only true actress that Hollywood has.
—Clarence Buenger, Louise, Texas.
$1.00 Prize Letter
More Awards
Now that everyone else has done it, I
take my turn to give the yearly awards :
To Franciska Gaal — For having the odd-
est-sounding last name in pictures.
To Loretta Young — Those clothes she
wears would be reason enough for an
award, but for her beauty which out-
shines theirs.
To Cesar Romero — For the surprise per-
formance in "Happy Landing."
To Robert Taylor — For being such a good
scout during all the fuss over him in-
New York and England.
To Don Ameche — For the most engaging
smile and the most expressive voice.
To Claire Trevor — For becoming one of
our favorites, in spite of what seems
the concerted effort of the producers
to keep her in "B" pictures.
To Tyrone Power — For having real talent
and for not trying to hide it behind
a load of boyish charm.
To Connie Bennett — For trying so hard
to beat the temperament bugaboo by
changing to a warm, likeable person.
To Clark Gable — For wearing old clothes
and driving an old car when he wants
to.
To Sonja Henie — For that cute nose.
—Janet Hope, West Los Angeles, Calif.
$1.00 Prize Letter
Type-casting
My little piece is about type-casting. I
think that when a star becomes famous for
his success in portraying a villain or a hero
or a comedian, that he should always play
that role. The audience becomes accus-
tomed to seeing the player in that part and
knows what to expect. However, lately
the fashion seems to be to switch players.
In one picture you find the actor playing
a dyed-in-the-wool gangster and in the
next, the reformer out to clean up the town.
For example, we are all accustomed to
seeing Jack La Rue play the sinister men-
ace. In "Captains Courageous" he was cast
as the benign priest. And what happened?
I saw the picture twice and, each time the
scene where he comes on was flashed, the
audience howled. The scene was a solemn
one, but the audience just couldn't see Jack
as a priest !
I think that Robert Montgomery wasn't
the type for "Night Must Fall." He was
good — yes. But in several scenes where he
smiled, he had the same whimsical, good
natured smile that made him famous — it
was hardly the smirk of a killer. — G.
Garnin, Brooklyn, N. Y.
Here are the players you
voted tops in the Between
You 'n' Me Questionnaire
printed in February
Favorite actor, Nelson Eddy ; actress,
Jeannette MacDonald; Scarlett O'Hara,
A-Iiriam Hopkins ; favorite screen star on
the radio, Don Ameche ; handsomest man,
Robert Taylor ; most beautiful girl, Loretta
Young ; favorite cowboy. Gene Autry ;
most promising newcomer, Marjorie Weav-
er ; favorite child actor, Freddie Bartholo-
mew ; child actress, Shirley Temple. You
would like to meet Nelson Eddy, like the
double feature program, and want a Mod-
ern Screen life story of Irene Dunne. The
best picture in 1937, "Stella Dallas ;" and
the worst, "The Bride Wore Red."
Little Jane
Withers, Sixth
Lady of the
Box Office,
shows YOU
how much
alike a star
and her stand-
in sometimes
look. Kay Con-
nors is on the
right.
MODERN SCREEN
HOW TO WIN MEN AND IMFIHENCE BACHELORS
{Continued from page 47)
sitting at home for several evenings with
the good book. As an example : There are
a heap of young men in this world similar
to the worthless young husband portrayed
in "Mannequin." Eddie — out for himself,
figuring that any way he got what he
wanted was okey doke. Fine — Eddie had
a perfect right to figure that way, but
his type is a dangerous playmate for little
girls. What he needed was a nice selfish
siren to take him over the hurdle. On the
other hand, there's the type of young man
Wayne Morris plays on the screen. Jimmy
Stewart, too. Nice, honest, never glib and
not very smooth, but never dumb, either.
If there is a William-Powellish sort of
guy on your date list, you've probably been
warned plenty by friend and family that
he's "dangerous" — meaning that he has
low designs on your virtue. I'm inclined to
say pooh. What you haven't been warned
against is that it is dangerous to try tricks
on a man like this. He knows them all.
He has had women throwing themselves
at his head for so long that he may be par-
doned for holding virtue in low esteem.
If he'll fall for anything, he'll fall for
a brand new sort of attack, which really
isn't an attack at all. By that I mean an
attitude of honesty and sincerity, with just
a pinch of live-and-let-live thrown in.
Don't be coy. Don't pretend to be ignor-
ant of matters which are perfectly under-
standable to you, and oppositely, don't pre-
tend to be ineffably wise about matters
which are Greek to you, just for the sake
of impressing him. Beat him at his own
game. He may make the statement, more
likely imply it, that "you're a nice girl and
I like you, but I'm not serious about this
thing, you understand.''
Answer him with "Sure — I'm so glad
you feel that way" Imply that you, too,
want to have some fun and enjoy some
laughs, and maybe play-act at a little ro-
mancing, and when you're ready to call
quits, you're going to call quits. Keep up
this attitude, even if you suddenly find your
heart doing flip-flops at the sound of his
voice. It will keep him dialing your num-
ber for a while, and perhaps eventually
he'll begin to figure, "There's a nice, com-
fortable girl to know. Wish I hadn't been
quite so hard-boiled in my attitude toward
her." Perhaps, when that time comes, he'll
begin to change his attitude.
STOP hoping against hope where men
are concerned. I think young girls are
inclined to do this. Miss A. is intrigued
with Mr. B. Mr. B. shows no inclination
to return the compliment and no inclination
to take up Miss A.'s time. So what does
Miss A. do? Instead of common-sensibly
gathering that he just is not interested, she
tries to work out some involved muddle-
headed idea in her mind that he's acting
that way to make her jealous, or to play
hard to get. Cross Mr. B. off your
list, Miss A., and concentrate upon Mr. C.
Then there is the problem of the girl
who is pretty, slim, well-groomed and guilty
of none of the sins we're warned against
in the more frank advertisements — and still
the gents stay away in droves, or else they
quaff a run-out potion after one date.
Many's the letter I've received from young
kids in this pickle, and the most common
plaint is "Miss M., I never can think of
anything to say. My face freezes into a
sickly grin, I get tongue-tied — why, my
hands actually get red from nervousness."
Now, now, what in the world is there
about the male of the species which can
scare a nice, intelligent girl into such a
state ? But I should talk ! The first time
a boy ever "took me home" from a party, I
was so painfully embarrassed, I don't think
I said two words. Yet I saw this chap every
day of my life. We were in the same
classes in high school. I could have asked,
"Do you think we have any chance of
beating Mt. Grange at football this year?"
I could have said anything that I'd say
naturally and comfortably to any body
else. Men are just people. But there is
sometimes the feeling that a gal must talk
about different subjects with a man.
There are just a few, a very few, topics
that are taboo in talking to a guy. Diet,
your simply ducky doings with other fel-
lers, catty remarks, chit-chat about clothes
— such conversations are apt to be boring.
But ask questions, start an argument, flatter
a little, laugh a lot, say whatever pops into
your head, without considering too much
whether he'll approve.
But dear me, sirs, this is supposed to be
a beauty article of a sort, isn't it? And
that brings me to the big beauty and style
news for Spring 1938. We're going ter-
Now-with the active
itffllKHESSldMoo
GLORIOUS days in the out-of-doors!—
■ Are you wondering what you can do
for that flaky skin?
This year you are doubly fortunate!
Pond's 'Vanishing Cream, always so grand
for flaky skin, is now a nourishing cream,
too. It contains the active "skin-vitamin"
which aids in keeping skin beautiful.
This new Pond's "skin-vitamin" Vanish-
ing Cream is never drying! ... It simply
does not come out on your skin in a "goo"!
It's a triumph of modern science — a true
nourishing cream — yet nothing greasy or
heavy about it. Pond's Vanishing Cream is
light and delicate in texture!
Put it on always be-
fore you powder. Again
after coming in from
outdoors. And of course
for overnight after
cleansing.
"Pond
base tha
Same jars, same
labels, same price
Now every jar of Pond's Vanish-
ing Cream you buy contains this
new cream with "skin-vitamin"
in it. You will find it in the same
jars, with the same labels, at the
same price.
'skin -vitamin* Vanishing Cream is good news. A powder
t actually nourishes skin is almost too good lo bo true.'"
SEND fOR
crbam!
TEST IT IN 9 TREATMENTS
Pond's. Dcpt.9MS-VT. Clinlon. Conn. Rush special
tube of Pond's new "skin-vitainin" Vanishing
Cream, enough for 9 treatmenls. with samples of
2 other Pond's "skin-vitamin" Creams and 5 dif-
ferent shades of Pond's Face Powder. I enclose 100
to cover postage and packing.
Tune in on "THOSE WE LOVE," Pond's Program, Mondays, 8:30 P.M., N. Y. Time, N.B.C.
Name_
Street _
City
.State
Copyright, 1938, Pond's Extract Company
95
MODERN SCREEN
ANY ONE CAN PUT
TALON
SLIDE FASTENERS
One, two, three . . . they're in ! Any
one can do it by following the
simplified instructions that come
with every Talon Slide Fastener
you buy in a chain store. Fool-
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fectly and make the smartest,
smoothest closings for your own
and your children's new spring
clothes. Wonderful for moderniz-
ing last year's dresses, too !
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As little as ISc—at
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The W.T.Grant Co.
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The McLellan Stores
G. C. Murphy Co.
Scott Burr Co.
and other variety chain stores.
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Montgomery, Ward & Company
Seniatlonal
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ribly, terribly feminine. And femininity is
the strongest man-magnet there is. It rolls
into one all you've ever heard about soft
colors, soft curves hinted at but not braz-
enly revealed, fragrant hair, eyes which
speak more than lips, quiet voices and a
body that seems to become thistledown
when the dancing partner grabs a-holt of
you.
Unless a tan is the most becoming thing
you've ever worn, don't get sunburned this
summer. White skins are back in vogue.
Protect your skin with large hats and beach
coats and creams that filter the sun. I've
always maintained that a creamy or pink
and white pelt is a girl's loveliest attribute,
but for about ten years I've been completely
out of style. Throw away your dark pow-
der and get a box of one of the creamy
new tints. New rouges and lipsticks have
a bluish or mauve cast — deadly with a
suntan, heavenly with a white skin.
Virginia Bruce, whose epidermis is pink
and white and tender, and the redheads
like Jeanette MacDonald and Janet Gay-
nor, who fry to a crisp in the sun, are in
high glee over the fashionable new pallor.
And, by the way, for extra allure some
romantic evening, try one of Virginia's eye
make-up tricks. Rub a little cream eye-
shadow on your eyelids, exactly in the
center, of the same color as your eyes.
It sort of gives the effect of the color
showing thru when you lower your lids.
And — girls with smallish mouths — try
Miss Gaynor's trick for enlarging your
lips the least bit. Make up your mouth
in its exact natural shape first with a very
light lipstick, then go over it and enlarge
it a little bit at the bow of the upper lip
and the curve of the lower lip with a deep-
er shade. If, like Jeanette MacDonald, you
have trouble in keeping lipstick on (and
how men do hate to see a gal re-apply it in
public ! ) , try making up your mouth first
with a very light, very indelible stick,
then put on another coat of whatever shade
is your pet at the moment, and blot the
whole paint job lightly with tissue.
There are two sorts of facial allure. The
first, the allure of a nice skin, sparkling
eyes, red lips, all enhanced with clever
make-up and framed in shining hair. Most
girls do pretty well in developing this
sort of sex appeal. But a more potent ap-
peal lies in the face which has interesting
planes and highlights. And everywhere I
see faces which completely neglect these
possibilities — in fact, the make-up on these
faces does everything possible to hide the
beauty which lies in the bone structure.
Study your face in a good strong light.
See if you have some interesting planes
and hollows in that pan of yours. A slight
hollow below the cheekbones is chockful
of allure. Large and beautifully shaped eye
sockets can do things for your eyes, which
may not, in themselves, be remarkable for
color or size. Then study the portraits in
this magazine, see if you find one of the
Hollywood belles with a facial structure
similar in any way to your own, and try
to copy her make-up tricks. Highlight in-
teresting points in your face, not with a
crude dab of rouge, but with a subtle
blending of a darker or lighter shade of
powder. Perhaps the merest touch of
cream or oil will do the trick, leaving other
make-up off that particular spot. Some
girls use soap for this stunt, since it leaves
an interesting shine and doesn't smear.
If your eye sockets are large and nicely
shaped, work on your eyebrows to play
up this interesting facial point. Don't send
them on a detour from their natural shape,
but rather darken them or thicken them or
lengthen them with all the skill you have.
If your brows are too heavy and therefore
blur this interesting line, do not pluck
them too industriously — merely trim out the
stray hairs — and otherwise make them be-.
Jackie Cooper "plants one" on her
forehead, and Bonita Granville
likes it in "Young Romance."
have with vaseline, eyelash grower, lano-
line or our friend the cake of soap again.
It occurs to me, offhand, that stars like
Carole Lombard, the great Garbo, Luise
Rainer and Claudette Colbert all have, in
addition to their other charming attributes,
this allure of interesting facial structure.
On the other hand, stars like Barbara
Stanwyck, our afore-mentioned friends
Jeanette MacD. and Janet G., Eleanor
Powell and Ginger Rogers stake their
claims to loveliness on the allure of pretty
skin, sparkling eyes, and so on. Which
type are you?
Well, I started out by telling you not to
be in too hot a rush to marry yourself
off, and meandered along through every
new stunt I could think of which might
induce an ardent gent to pop the question,
along with a little help from the moon and
some soft music. But I also said some-
where along the line that I wished every
girl could be as smart as every guy in this
romance battle of the sexes. I don't mean
I want you to start collecting lovers as
some folks collect stamps. However, I
think it's only fair that a girl should have
the time and peace of mind to develop her
good looks, her personality and herself to
the utmost, and to do that one needs the
excitement and fillip which popularity,
plenty of dates and admiration give to life.
Not a word about diet or exercise in
all this I How did that happen ? Well,
next month I'll devote the whole session
to some perfectly elegant new figure-im-
proves— I will, so help me !
Uh — oh ! Forgot the present. This time,
it's six sample shades of an excellent face
powder — six delicious shades, ladeez.
Namely : a fine natural and light rachel,
a rose rachel, a brunette, a suntan and a
perfectly spiffy flattering dark shade called
hi-brown. Fill in the coupon below and —
note this carefully — please send a three-
cent stamp to cover cost of mailing. Print
name and address plainly to avoid wear
and tear on the eyes of our mailing depart-
ment— they want to keep beautiful, too.
Mary Marshall
Modern Screen
149 Madison Ave.,
New York, N. Y.
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MODERN SCREEN
GOOD NEWS
(Continued from page 6(5)
Kay's Next
On his first day's work on "The Secrets
of an Actress," Kay Francis' new picture,
director Bill Keighly received a mysterious
funeral wreath and a card saying, "Deepest
Sympathy." Fortunately, the wreath proved
highly unnecessary, for Miss F., all during
the production, was as nice a young lady
as any director could hope for. Word is
that her new mood is inspired by her forth-
coming marriage to Baron Raven Erik An-
gus Barnekow, the German nobleman who
is to be Kay's fifth mate. The Baron, inci-
dentally, prefers to be known as Mister.
He's an American citizen, and plans to build
an airplane factory here.
The fact that Marie Wilson receives
more fan mail than any star at her studio
so impressed a friend of hers that she sent
the item to Ripley. Her letter was re-
turned, with a note from Ripley : "I don't
believe it."
There's a tiny desert island built on one
of Universal's sound stages for use in
"Sinners in Paradise," a story of six
people who are stranded on the island
after a plane crash. Said one of the prin-
cipals, John Boles, when he first saw it :
"It doesn't look much like Paradise to
me. And there isn't even enough room
to sin."
Lucky Lady
Bologna
Wise Connie
■When Connie Bennett started her "Con-
stance Bennett Cosmetics" people around
town wondered whether she was smart to
sink a lot of money in a business she knew
nothing about. But Connie turned out to be
smarter than those who were doing the
worrying. For she invested nothing but her
name. The dough comes from the Countess
di Frasso.
Funny, and sometimes just slightly tragic,
how a few good roles can go to an actor's
alleged head. A case in particular is that
of a guy who was just another handsome
leading man up to a year or so ago. Then
a series of swell roles and a lot of good
publicity boosted him to the top. The other
day a writer tried to arrange an interview
appointment with him. "I don't need inter-
views," said the guy. "All I need is to con-
tinue my good work on the screen." You
can buy the same sort of stuff at the corner
meat market. Just ask the man for bologna.
Myrna Loy and Arthur Hornblow, who
wanted privacy, invested puh-lenty in a
brand new home in Coldwater Canyon.
It's a showplace, and very lovely — a big,
rambling house and a large area in back
equipped with swimming pool, tennis court
and playhouse. The only hitch is that the
pool can be seen from any of three high-
ways above the canyon, and tourists have
already begun parking along the road wait-
ing for Myrna to indulge in a bit of privacy.
Perhaps, you've read something about the
thirteen-year-old girl being sponsored by
Bette Davis and her husband, Harmon Nel-
son. The young lady is Pamela Bascom, an
orphan from Pomona, California. Nelson,
who is an agent, heard her sing, and he and
Bette are so convinced she has a fine future
that they've taken her into their home,
where they're giving her all possible ad-
vantages in the hope that one day she'll be
a screen star. Briefly, little Miss Bascom is
a very lucky young lady.
Some of the boys at Paramount are still
chuckling — well, they were when this was
written, anyway — over Franciska Gaal.
Franciska, who starred in "The Buccan-
neer," signed her contract with her real
name — Fanny Zilverstitch.
Why, Arthur!
Here's a California flood item which
Arthur Treacher swears is true. We won't
vouch for it, but here it is: A friend of
Treacher's, who owned a small ranch, was
worried because his crops didn't have
enough moisture, so he prayed for the Lord
to send down a little rain. Next day the
deluge started, and when the friend saw
part of his barn float away, he looked
heavenward and said solemnly, "Now God,
don't be silly!"
(Continued on page 111)
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MODERN SCREEN
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SLAVES TO HOLLYWOOD
(Continued from page 41)
I was scared to talk for fear of saying
the wrong thing. Of course, if there was
dancing I was all right. Nobody could
make me feel shy on the dance floor. But
the moment the music stopped, the fun
went out of everything.
There was one night I especially re-
member. The occasion was a huge, elabo-
rate banquet given by an executive of my
studio. I was invited because I'd just made
my first real hit in a featured role.
I had an exquisite dress designed for
the occasion. Oh, I looked like a princess
going to the ball. I thought, maybe this
time I can act like one, too.
Yon know that grand feeling a girl gets
when she walks into a room and everyone
turns to look at her. That's what happened
to me that night, and for a moment I felt
exactly as I'd felt going to parties back
home, knowing every minute of the eve-
ning would be fun.
And then the banquet started. I was
seated between a distinguished foreign
director and a famous musician. Across the
horse-shoe table was the star whose film
I had stolen. She said to the musician
with deadly sweetness, "Oh, Maestro, Miss
Chalmers is passionate about symphony
music. Do have her tell you about it." She
had, you see, followed my publicity build-
up, and being Hollywood herself, knew
exactly what there was to it.
But the Maestro didn't. His eyes lighted
up with interest. "Indeed? Have you been
following the Toscanini broadcasts? What
did you think of his interpretation of Si-
belius' first symphony last week?" I don't
remember what I answered. He tried a few
more conversational openings, then gave
up. The woman across the table went on
smiling. I fared no better with the director
on my left.
A clock struck somewhere in the huge
hall, and I swear I looked at my dress ex-
pecting to see it turn to cheesecloth. And
then I thought, it isn't midnight yet. Long
before midnight I left that party.
There's no use telling you aii)Out more
parties, because they were all pretty much
alike. I suppose if my box-office success
hadn't been so rapid, I'd have managed to
find a set of youngsters who could have
becorne my friends. But success did come,
and it was a hard taskmaster until that
day I met Joe.
It was open mutiny for me to make a
date with him. Joe himself was the first
to point that out. "I can't take you to the
places_ where you're used to going. And
even if I did, you wouldn't thank me for
it. You know and I know what Hollywood
is like. You're a headliner. I'm not. That's
the answer. We just don't mix."
I said, "I won't let it be like that! I
want to see you!" That was at the end
of that crazy, harrowing day of rehearsal.
"Please let's see each other tonight!" Then,
as suddenly I realized I was actually beg-
ging a boy for a date. "See how you make
me act! You wouldn't be ungallant and
turn me down now !"
He grinned. "Gee, you are a crazy kid!"
He came for me that evening and we went
out. His car was a rattle-trap. He turned
it in the direction opposite all the night-
spots and correct places, and drove fast.
Instinctively, I'd known I mustn't dress
for this date. I wore slacks and a sweater.
Joe said, "Gee, you're sweet, with no trim-
mings." I smiled up at him, my throat too
tight to speak.
We drove towards the ocean, and high
up on a cliff Joe parked. The warm, fra-
grant California night was magic about us.
There was a moon, and I think in our
hearts there was moon-madness.
I said, "Let's forget, just for tonight,
we're Hollywood. Let's pretend I'm still
back home, and I've just met you at a
dance, and . . ."
"And we've fallen in love," Joe whis-
pered. Only we couldn't pretend. We knew
it had happened to us. And it was terribly
important.
I whispered, "You make me feel real
again. I'm so happy." And then I was cry-
ing. He let me cry a long time against the
rough tweed of his shoulder. Then he let
me talk. About myself, about my family,
about the travesty of success I had
achieved.
Joe^ said, "You poor little sacrificial
lamb." Then his arms were around me. "I
thought we were supposed to be happy to-
night! Let's forget trouble. Let's laugh.
Let's be crazy."
TPHAT was the first of a dozen wonder-
ful evenings. We went to the kind of
places I hadn't been near since leaving
home. Midnight snacks at hot-dog wagons.
Lunch, on Sunday, on a tray in the car,
somewhere on the highway at places where
a second cameraman would take his girl
and where no one recognized me simply be-
cause it was so absurd for a. movie queen
to be there.
Oh, we had such fun ! Then one night
Joe was oddly silent. He didn't say, when
he left me, "I'll see you tomorrow at the
same time." He just kissed me with a
queer intensity that frightened me. And
next evening he didn't show up.
I spent frantic hours waiting. At
last I called his house, and his landlady
said that Mr. Turner was in his laboratory.
He had given orders not to be disturbed.
I couldn't believe it. I knew, of course,
that before_ our meeting Joe had spent all
his free time experimenting with color
photography, that he meant to get some-
where in his own profession. But to think
Margaret Sullavan has
adopted this Great Dane pup
— feet and all. Don't you love
him?
MODERN SCREEN
that would make him forget about me. Why,
it didn't make sense.
But when I saw him on the lot next
morning, it did make sense. There was
no smile for me in his face. Only formal
politeness. "Joe," I tried to speak lightly,
"are you in the habit of standing up dates?
I waited last night."
"We didn't have a date. Besides, I was
busy. Didn't my landlady tell you?" He
said this without looking at me, but the
line of his jaw was set. "There's some
stuff I had to get done."
Something was terribly wrong, but I
couldn't guess what. "I'm not trying to
scold you, darling," I said gently. "We'll
make up for lost time tonight."
"I'm not coming tonight, either." It was
like a stranger speaking.
So that night I went to the Trocadero
with Tom Lane, wearing slinky black satin
and half a dozen orchids. And we danced
beautifully together for the benefit of
newsmongers, smiling up into each other's
eyes.
The next night I went to a select gam-
bling palace with Hugh Lewis, Hollywood's
most eligible bachelor. I lost a thousand
dollars playing the numbers of Joe's car
license.
At the end of a week I swallowed my
pride and went to see Joe at his shabby,
comfortable home. "What happened to you,
to us?- Joe, have I done anything to
make you angry? I'm so miserable."
At first he wouldn't talk. Then, slowly,
he admitted the trouble. My manager had
got wind of our friendship, and had come
to him in a rage. Shouted that I was
cutting my own throat, and that Joe was
helping me do it.
"He told me," Joe said, his eyes dark
with pain, "that if I was any kind of
friend to you I'd fade out of the picture.
That he and the studio had slaved to build
you up, and now you . . ." He was silent,
then went on, "Heaven knows I'm — your
friend. I — darling, he told me you broke
dates with people to go out with me. I
can't let you do things like that. Don't
you see ? I can't let you deliberately scotch
your own chances."
I cried, "I don't give a hoot in heaven
about my chances ! Joe, you and I love
each other, you know we do ! We can't
let my career and Hollywood stand in our
way ! Joe, I don't want to be famous if
I can't have happiness, and you."
IF Joe is stubborn, so am I. I fought
for my future. I said I'd behave any
way I wanted to behave, and if the studio
didn't like it, they could break my con-
tract. I said I'd learn to cook and we
could live on an assistant cameraman's
salary. I said all the things any girl
in love would say.
In the end, Joe gave in. He drove me
home and it was like our first date all over
again. Joe kissed me, holding me as if
he'd never let me go. "Goodnight, be-
loved." For the first time in ages, that
night I slept deeply.
But you can't live your life exactly the
way you plan it. You can't cheat fate.
The next day, something happened that
changed the whole course of our lives.
A telegram came for me from home. My
father had died suddenly of heart failure.
I couldn't leave the lot and go home
to be with mother. I couldn't even give
way to my own grief, because "Rhythm in
Your Blood" was in its final, feverish
stages and it costs thousands of dollars
to stop production, even for a day.
So my feet had to go on dancing and
there was a smile glued rigidly on my
face all during working hours. After-
wards, I talked to mother and my sister
on the long distance phone. I heard my-
self saying, "We'll pull through, some-
how. I'll — take care of you."
And then all at once the meaning of
what I said hit me, hard. With father
gone, the family was my responsibility.
And so I wasn't free to snap my fingers
at Hollywood after all.
I talked it over with Joe, weeks later,
when I had the courage to do it without
going all to pieces. "We've got to figure
out some way, dearest. I've got to play
ball and go on being a career girl. But
gosh, there must be something we can do,
some compromise."
Joe said, smiling his wry smile, "The
grand duchess and the butler, on the but-
ler's night off?"
I wouldn't let him be bitter. I said,
"No. Cinderella sneaking out of the
palace to be herself."
We tried it. For a month, grimly, I
stuck to the social calendar of my man-
ager's making six days a week, and played
hooky with Joe on the seventh. And it
was like a travesty of our former, joyous
dates. We were self-conscious. We were
tense and nervous, and little things loomed
suddenly like huge obstacles to happiness.
If you've ever tried to be casual about
life-and-death matters, you will know what
I mean.
What precipitated the explosion was
my manager's decision that I must give a
party. A Hollywood party. Caviar by
the ton and champagne by the barrel.
Hundreds of orchids to decorate the tables.
Two swing bands.
He handed me the list of prospective
guests and it read like a Who's Who in
the Movies. Then he said with belated
courtesy, "And, of course, anyone else you
may care to invite."
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99
MODERN SCREEN
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DO AS I
ACTRESSES DO
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I don't think he expected a single sug-
gestion from me. I said, very angrily
and very quietly, "I'm going to ask only
one personal friend. Joe Turner."
To Joe I said, "Please, darling, please
come. It means such a lot to me ! I'm sick
of running off with you, of sneaking as if
we were doing something wrong to be to-
gether ! I'm not that kind of person !"
"I know," he said, "I feel the same way."
Afterwards, we were both to wish he had
turned the invitation down. Because that
was the most ghastly evening I've ever
spent. For hours, in my own house, at
my own party, Joe and I were thoroughly
and mercilessly snubbed.
When it was over Joe faced me. "This
can't go on, Linda," he said. "It's suicide
for you. And it's no fun for me. We
might as well face reality. There's no
future for us. We'll just have to — forget
one another."
I was crying. "Joe," I said, "we've been
all over this. Joe, you and I can't forget."
"And can we go on like this, do you
think?" His hands were on my shoulders
now, he was looking into my face. "Be
honest, Linda. Would you like me to
make a habit of taking what I had to take
tonight? Would you have much respect
for me if I did?"
I hadn't thought of it that way. He went
on. "And what of you? Tonight didn't do
you any good. Now that you can't just
snap your fingers at your career."
I cried, "Let's get married, then ! They'll
have to accept you. After a while people
will find out what a grand person you are."
He laughed, and it was the most tragic
sound I ever heard. "You innocent baby !
Do you really still think that, after the
way you've been treated? Why darling,
no one will bother to find out a thing
about me until I make them, not until I
make a name for myself, with color pho-
tography, or with some other trick. In
this town, people only stop to look at you
if you're ten times as big as life."
AFTER a wliile he went on, "And sup-
pose I did marry you now. Do you
know what would happen? You'd have to
go right on with your schedule of a public-
personal life. You'd go out with other
men six nights a week. You'd pay the house
bills out of your star's salary.
"And in the end I'd become Mr. Linda
Chalmers. If I ever got anywhere, people
would say, 'Oh, yes, he's so-and-so's hus-
band. I suppose she did everything to
pull the strings for him. No thanks, Linda.
I've seen too many Hollywood marriages
on precisely that pattern. Seen every one
of them go on the rocks."
And against all that cold barrage of
reason I had only one argument left. "But
I love you. I love you, Joe." It was
stronger than all the others, after all.
Hours later, when Joe drove away, I
had his promise that he wouldn't try to
do anything crazy, that we would let things
ride and hope for a way out.
And this is where we are now. Joe and
I are engaged, secretly. I still see him once
a week, secretly. I no longer try to fight,
to buck opinion, to force Joe on people,
or even to be seen with him publicly as I
tried for a while. We live on crumbs of
fun and happiness, and wait. We're both
so young. Maybe something will happen
that will make everything right.
Five years, we've given ourselves. But
five years is an eternity of waiting. Will
he still love me then? Will his love survive
the snubs, the barbs that still occasionally
appear in gossip columns, the whole nerve-
racking mess ? Or will he turn to some
less famous girl? Every day, every hour,
I live with that fear. And there is no
answer. Only time can tell.
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100
MODERN SCREEN
FOREIGN FLAVOR
(Continued from page 45)
late of the French theatre and films.
Mme. Darrieux was induced to come to
our shores for $125,000 per picture.
Arriving with her director-husband,
Danielle immediately requested a house, a
car and a contract for hubby. All of
which she got ! However, unlike Dietrich,
she can really act, which even makes de-
manding permissible. Not only is Danielle
a sensation in France, but the New York
Critics' Award for the best picture of 1937
went to her "Mayerling."
Paramount's Franciska Gaal is a gal
who believes in plenty of action and not
much talk. She quietly slipped into Holly-
wood from her native Budapest and went
to work on "The Buccaneer." Since its
premiere, she has been taken into the
hearts of millions of fans.
Franciska is a veteran of the theatre,
having been a child actress of note abroad.
• The youngest of thirteen, she naturally
felt left out of family conferences, so
decided to be very important so that every-
one would have to notice her. However,
no one thought her histrionics worthy of
even a dramatic class. In fact, the most
she managed was to be allowed to sit in
at rehearsals. However, the gods were
with her, for at the last rehearsal, the
child actress in the play was stricken ill.
After much arguing, little Gaal was given
the part. The result was stranger than
fiction and she rocketed to fame.
However, making the movie grade was
a horse of a different color. Franciska
says :
"When we see the first day's picture
shots, I am sick. From the looks of the di-
rector, he is also sick. So, I go home and
spend all the nights figuring how to do this
camera , acting. Next morning, after I
work for long time, I am sure they are
good. For they say, 'Babee, you are
okay.' Now I like it better than stage
acting."
ANNABELLA, who won her spurs in
• "Wings of the Morning," is now
seriously taking up the business of Ameri-
can films. Already famous in England,
as in her native France, she plans to scale
the heights here or know the reason why.
As a little girl, Annabella's burning
ambition was to become as famous as the
stars whose photographs adorned her walls.
Arriving in this country with little bally-
hoo, Annabella went directly to the coast.
Traveling with her was her husband, Jean
Murat, who keeps well in the background.
To date, he has asked nothing of Holly-
wood except fair treatment for his wife.
Although no hair styles nor cold creams
have been named for Annabella, we predict
a great future for her here. Fortunate
enough to be co-starred with William
Powell in her first picture, we can only
wish her the same luck Luise Rainer had
under the same circumstances.
All of which brings me back to the main
issue at hand — the importance of foreign
flavor. What would we do if Alan Mow-
bray, Arthur Treacher or Eric Blore were
suddenly to say, "We're going home."
There would certainly be many a disap-
pointed movie-goer in the land. These
popular players often receive as much
money for two or three days' work as the
star they support gets in a whole week.
There's no denying that our foreign
actors add that certain important something
to a picture program. They do things
to our entertainment appetite — and mighty
nice things, tool
CHEW WITH
9)
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One of iilmdom's most famous stars makes this
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101
MODERN SCREEN
Torch Fishing
Lithneraph hv Robert RjggS
Drink Dole Pineapple
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Name
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102
BAD MAN OF BURBANR
{Continued from page 42)
actors who are 'so thoughtful.' I'm not.
Ask my best girl," (Mayo Methot is the
■liest girl', soon to be the third Mrs. Hum-
phrey Bogart) "she'll tell you. She told
me, plenty. Because I forgot to send her a
valentine on last Valentine's Day. Never
thought of it, that's all. No one ever sent
me a valentine.
"I was brought up very unsentimentally
but very straightforwardly," continued Mr.
Bogart who, in person, looks ten years
younger than he looks on the screen. "A
kiss, in our family, was an event. Our
mother and father didn't glug over us, my
two sisters and me. They had too many
other things to do, and so did we. My
mother, Maude Humphrey, an artist of re-
pute, always liad swell jobs, was always in-
terested and busy. My father was a doctor,
pretty much of a he-man. Christmas, which
happens to be my birthday, was not exactly
overlooked, but there was no to-do about
it. Everyone was busy with matters of
more interest and importance.
"I respect my mother more than I re-
spect anyone in the world. But ours is
not the kind of affection that spills over
or makes pretty pictures. If I sent my
mother one of those Mother's Day tele-
grams or said it with flowers, she would
return the wire and flowers to me, collect.
"I was born in New York City and
thereafter went to various schools, even-
tually to Andover. My career there was
abruptly terminated by the headmaster
who caught me and some other students
ducking a junior professor whom we did
not revere. I can't show reverence where
I feel none. I joined the Navy, served
through the war, got out from under as
fast as I could. The adventure was too
strenuous for me, as adventure usually is.
I have no desire to be a Don Quixote,
Don Juan, crusader, explorer or anything
that requires any effort. I'm lazy, and
when people ask me what I would do if
I didn't act, I say, 'nothing,' and mean it.
"After the War I got a job on Wall
Street and was so bored my ears flattened
out. Too lazy to rescue myself by look-
ing for work elsewhere, I was rescued by
William A. Brady (father of Alice) who
took an interest in me and gave me a job
backstage in one of his theatres. I became
an assistant stage manager, I don't know
how, and then slipped into the greasepaint
and that was that.
BUT to continue the shearing-of-senti-
ment process — actors are always pub-
licized as having a 'beautiful courtesy.' I
haven't. I'm the most impolite person in
the world. It's thoughtlessness again. If
I start to be polite you can hear it for forty
miles. I never think to light a lady's ciga-
rette. Sometimes I rise when a lady leaves
the room, more often not. Now and then
I find myself rising when a man leaves
the room. If I open a door for a lady,
my arm always gets in the way so that
she either has to duck under or get hit in
the nose. It's an effort for me to do things
people believe should 'be done.' I don't see
why I should conform to Mrs. Emily Post,
not because I'm an actor and believe that
being an actor gives me special dispensa-
tions to be 'different,' but because I'm a
human being with a pattern of my own and
the right to work out my pattern in my
own way.
"If I feel like going to the Troc wear-
ing this coat (a brown and tan checked
garment, with 'gussets' of suede at the
elbows, not very new) and a pair of moc-
casins, that is the way I go to the Troc,
BABY FEET
of babv foot in new inex-
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I (4oth Year.) Stage, Talkie, Radio, Graduates: XeeTracy,
* Fred A.t;t.airp. Tina Mprkpl_ Zit.a .Tnhann. pt.(-_ nrama.
GLUE
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Your choice of Man's
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□ Ladies' Model
□ Men's Model
NAME ■
MODERN SCREEN
Rosemary Lane's nifty ballet work
isn't the least reason why you'll
enjoy "Gold Diggers in Paris."
if at all. If I go to the Troc and want to
make a jack-ass of myself in front of every
producer in town, that's my business.
"But what I really can't understand,"
Mr. Bogart said, seriously now, "is why
actors can't have human frailties like other
people ; why they can't make the same mis-
takes, guess wrong now and then ; why
they must be presented to the world as of a
uniform and unassailable virtue. You take
a composite cut-out of everything you read
about actors and actresses and you'll get
one female star, one male star, one villain.
The hundreds of actors and actresses, ^ with
their highly individual faults and failings
and sins and repentances, are melted to-
gether into three lay figures.
"The actor is a 'popular guy' is another
well-worn slogan. Well, I'm not popular
in the hail-fellow-well-met sense in which
the phrase is meant. I'm not like Frank
McHugh who has to shake his pals ofi his
coat lapels. I have a few good close friends,
that's all. Everybody doesn't like me. And
I don't like everybody.
"The actor is always a 'man's man.'
It's doubtful whether I'd qualify or not.
I don't hunt big game or mice, because I
don't like to kill things. The 'Killer'
throwing away his B.B. gun rather lets
you down, huh? Still, there'd be no fun
in human nature without a few inconsisten-
cies. I don't fish because I fished for ten
years and never caught anything. So that
lets me out of the 'man's man' class, no
doubt. I've never read about a man's man
who didn't hunt or wasn't a 'compleat
angler.' I'm not a big, hearty eater, either,
downing two dozen oysters and a haunch
of venison as a lesser man would eat a
tray of canapes.
"I hate to handle money. I like to talk
when I have stimulating people around me,
but not for the sake of hearing my own
jaws break. I'm a Libera! -Democrat, and
think Roosevelt's a grand guy.
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103
MODERN SCREEN
Wh en emotions
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Work and play, and summer weather aren't
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104
1 have a pet aversion, though. This
kind of types me— all the Best Actors
have their 'pet aversions.' Mine is book
jackets. I always rip em off and get down
to the raw when I read. I read in bed
and smoke before rising. I like to smoke
a pipe but they're too much trouble so I go
for cigarettes. I like rough, tweedy
clothes, and would go in for nudism if I
could get away with it. I couldn't. The
composite cut-out certainly doesn't include
any such thing as a nudist. I seldom go
to the movies because to go to the movies
means that I have to go — and to go any-
where entails too much expenditure of
energy.
"An actor is always, at one time or an-
other, shown 'in his garden', with a know-
ing-about-flowers-look in his eye. Flowers ?
I don't know a damn thing about them.
Call a rose by any other name and you
couldn't prove it by me.
"I will not say that 'money is not im-
portant,' appealing to the higher ideals
though such a story always is. Money is
darned important to me. I have a lot of
things to do with it, a lot of people to
make comfortable and secure. I want to
be comfortable myself, not in any super-
fashion. I don't need a yacht, a swimming
pool, a private projection room, a de luxe
car. I only want the things I need for my
comfort, a pleasant home (I just bought
Hugh Herbert's house in the Valley, and
that's where Mayo and I will live when
we're married), a good car, some kind of
a boat to bat around in — because I like
water and everything in it, on it and with it.
"I'm not a respecter of Tradition, of
the kind that makes people kow-tow to
some young pipsqueak because he is the
descendant of a long line, born to the name
of Gouldfellow or something. Not until the
young p.s. has done something himself can
I respect him. Leaning on a name is the
perfect equivalent of leaning on the other
fellow all your life.
I TAKE my work seriously — but none of
this 'art for art's sake,' if you don't mind.
Any 'art' or any job of work that's any
good at all sells. If it's worth selling, it's
worth buying. I have no sentimentality
about such matters. If someone offers me
five dollars a year more than I'm getting,
I take it. And would kiss an 'old stand'
goodbye without a single teardrop.
"I believe in the institution of marriage.
The institution of marriage is right. It's
human beings who are wrong. There's
nothing the matter with marriage, per se.
The matter is with the persons who make
mock of it — and with it.
"I believe in love. Not 'the one love of
a lifetime,' pretty tale as that can always
make, too. There couldn't be just one love
— among fifty million people it would be
pretty hard to find it.
"Love is very warming, heartening, en-
joyable, a necessary exercise for the heart
and soul and intelligence. If you're not in
love, you dry up. I'm in love now. After
all, the best proof a man can give of his
belief in love and marriage is — to marry
more than once. If you're not married or
in love you're on the loose and that's not
comfortable. Love is comforting, too. It
is the one emotion which can relieve, as
much as is ever possible, the awful essen-
tial aloneness of us all.
"So you have me," said Mr. Bogart as,
luncheon finished, we walked to his car,
started the short drive back to the Warner
Bros. Studio at Burbank.
"So you have me," said Mr. Bogart,
"heart of stone and all."
Humphrey Bogart has broken the mould !
The Villain does not always have a heart
of gold ; the Movie Actor, composite of all
the virtues, can have a cloven hoof con-
cealed among the flowers. Hallelujah!
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Appearing in
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A
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{Continued from page 44)
at some well chosen future occasion.
Cesar Romero's theatrical career was all
a happy accident. _ At one time he worked
in an office, even as you and I. He met a
girl who liked to dance and, after hours,
they'd invent and practice tricky ballroom
steps. A friend said he could land them
an evening job tripping the light fantastic.
Would they take it? Would they! It
wasn't long before the popular pair had so
many dancing jobs that it took them hours
to figure out new routines. So Cesar left
the office — never to return.
"The dancing didn't go on forever,
though," reminisced Romero. "After a
while it was over. But it had a lasting
effect. I never wanted to be a clerk again.
I made the rounds of theatrical offices and
soon became very broke. I was hungry
and locked out of my hotel room and had
all the other harrowing experiences be-
ginners fall heir to. Then I landed a job
on the road. With practically no pro-
fessional experience, I became the male
lead in 'Strictly Dishonorable.' Things be-
gan to look up."
It was while playing this semi-villainous
role that the proverbial movie talent scout
found Romero and drafted him into cinema
service. Cesar had been "discovered" as a
baddie and, since his sleek looks contrib-
uted toward the illusion, a baddie he has
remained through dozens of pictures.
What's more, he will probably continue in
the role until he becomes resigned to it.
Anyway, playing villain has netted him
the things he likes — money, California and
the friendship of pretty girls — so perhaps,
even before he ever becomes a reel hero,
he will be a real philosopher.
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Smokey kisses Allan Jones
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105
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•106
MODERN SCREEN
HAND IT TO HALEY
(Continued from page 49)
bachelor who is missing so much, and that
while a gay cafe date makes you feel sup-
erficially jolly for a couple of hours, a
bank account's a thrill that's more per-
manent.
It was at the emphatically tender age of
five, at a Christmas festival at church, that
Jack decided he would be an actor. He
hasn't been pulled this way and that by the
usual diverse tendencies, as a direct conse-
quence. His parents attempted to over-
look his idiosyncrasy and the people in their
circle in Boston laughed at his crazy am-
bition. But Jack noticed that they also
chuckled at his droll antics.
Instead of falling for Santa Glaus on that
holiday before he entered school, Jack had
one of those inspired hunches of his. He
sensed that he didn't want to be president
as his mother suggested, nor a navigator
like his father. He didn't even want to be
a fireman anymore. A certain lad was
leading a group of children through a man-
ual of arms in the pageant. The supposed
soldiers tried to obey their chief, but the
amateur officer was wearing one of those
tall, furred Buckingham Palace hats and it
slid over his face so often that the audi-
ence rudely howled with delight. Jack
wanted to be in that spot. The following
Christmas he saw to it that he was one
of the singers in a little number entitled
"Leapfrog, Jump !"
WHEN he graduated from grammar
school he made the class address, and
nearly dropped to the platform from ner-
vousness. He kept thinking how well the
other entertainers were doing, and the
horror of not coming up to snuf? gripped
him.
After school hours he worked at sundry
humble jobs. When he graduated from
high school his family wished him to be
a competent electrician, so he got on the
payroll at the Charleston Navy Yard.
_ "That was when I nearly made my run-
ning start on the wrong track," he confesses
now. "I turned over most of what I
earned to mother, but with what was left
I stepped out. It never occurred to me to
save money until one day a kid who was
working with me showed up in an auto-
mobile. _ To my astonishment I found he'd
bought it by putting aside something each
Saturday.
"After that I hoarded what I could to
run away and get on the stage. There
was no entree there in Boston. One week-
end, when I had forty dollars altogether, I
told mother that I'd been transferred to the
Philadelphia Navy Yard and that it was
a chance for advancement. Really, I had
been writing to a pal of mine there and
I figured that if I got to Philadelphia I'd be
able to dash up to New York for week-
ends and get acquainted with some actors
who'd give me a break.
"When I arrived in Philadelphia I felt
guilty, so I mailed mom ten dollars. She
sent back twenty. So you can guess what
kind she is !
"My pal couldn't get me on at the navy
yard. But after a week or so of looking
around, I landed a job as a song-plugger
for one of the music houses. I sang in
movie theatres and I was almost an actor.
"One day when I was at tiie music store
a genuine actor walked in to inquire whe-
ther_ anyone knew of an idle comedian
who'd join his vaudeville act. I'd had to
wait three months for that opportunity, so
I immediately went into my well-rehearsed
sales chatter."
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MODERN SCREEN
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Jack got the vacancy, and for six months
he played the small-time circuit. He be-
came familiar with split weeks, with cold
trains and all the unglamorous drudgery
of that branch of the theatrical game. But
he couldn't be dismayed. He saved enough
to tour the New York booking offices and
land with "Winnie Lightner on the Keith
Circuit. Winnie had some singing and
dancing girls for background, and one of
them was Florence McFadden, a blue-eyed
blonde who was terribly in earnest. Jack
didn't pay any special attention to her then.
But a half-year later, which was just
one year after he'd begun his career, he
formed his own act. Within a few months
he was appearing at the Palace Theatre in
New York City, the niecca of all vaude-
ville artists.
"I'd stopped practicing putting on make-
up!" he grins, remembering. "When I won
that first job I nearly bought out the
drugstore and I had to try the grease-
paint on in front of all the customers. Then
my landlady objected so forcefully to my
ruining her towels that I began taking my
trimmings easier !"
He admits that he was scared stiff when
he went on at the Palace for the first time.
"Sophie Tucker and a lot of big folks
were on that bill. Once I got into my
routine I was all right, but how I suffered
each day while I was waiting to go on.
It's been worse than dreaming you were
caught short on Park Avenue without a
stitch on, that fear of not making good
which has pursued me."
Jack splurged for the last time then. He
bought a car. You really don't need a car
in New York City, as he subsequently dis-
covered. But if he hadn't bought that car
he might never have found the one girl.
He checked over his address book and
rode out to the McFadden's. The elder
sister wasn't in, but Florence was. So he
asked her to go driving with him anyway.
After that he discerned a growing yearning
for her company.
"I liked Jack," Florence Haley remarks,
"because he didn't look like an actor. He
didn't talk about himself unless you
probed. Then, too, I liked the way he
treated his mother and went to church with
her. He was self-respecting and serious."
WHENEVER he was in the ':ity from
his out-of-town engagements Jack
and Florence used to invite half-a-dozen
friends over to cook a community dinner.
Fred Allen and Portland Hoffa, Jack
Benny and Mary Livingston, and George
Burns and Grade Allen were particular
pals. That was before radio had sky-
rocketed them to fame.
He could have made the jump into
Broadway musical revues three years
sooner if he hadn't been deviled by his pe-
culiar handicap.
"I was a hit at the Palace and a pro-
ducer sent for me to come over to his office
to discuss a lead. He gave me the script
and told me he was quite sure I'd do. Next
day, when I was to read it along with sev-
eral others, I only got as far as the thea-
tre. I just couldn't make myself go in. I
never even tried for the part!"
But after his three years of big-time
vaudeville he mustered up sufficient con-
fidence to tackle the revue producers again.
Two seasons of headlining and he came
to another turning-point. He had gradu-
ally reorganized his ideas about women.
He saw that love wasn't a casual matter at
all. He saw romance in its true colors, as
a beautiful, essential experience. As a
lasting reinforcement he wanted it. He
awoke to the fact that Florence was far
more than pretty. He appreciated her ster-
ling qualities. They were married between
a matinee and evening show.
But because Jack went up so fast, and
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107
MODERN SCREEN
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tASYIOBRVTiH
HftBD TO BRVTEK
was a Broadway favorite in his early twen-
ties, don't think that he was able to stop
there. An audience doesn't clap at every
production, vou know, even though those
who are in it have the best of intentions.
He was so blue over the revue role he was
doing when they married that he went back
into vaudeville. Florence teamed with him.
After a season they had their introduc-
tion to Hollywood. A studio signed them
for a two-reel reproduction of their act.
After that Jack signed as master of cere-
monies in a Los Angeles movie house.
"I had a chance to stay on indefinitely,
but I also had one of my inspirations. A
Chicago company of 'Good News' was be-
ing organized and I was offered the lead."
He did so splendidly in it that a pair of
prominent writers wrote "Follow Thru"
for him and starred him on Broadway in it.
Remember "Button Up Your Overcoat?"
That was Jack's song. Two years after-
wards he introduced the equally popular
tune, "You're an Old Smoothie."
But even when he was imported by Hol-
lywood the following year he never became
a smoothie in reality. He is proud of the
Haley name. First he and Florence had
a daughter, and then a son. The children
are the apples of his eye.
A year ago Jack bought a house in Bev-
erly Hills for his family. It's in a fash-
ionable neighborhood and there is a swim-
ming pool in the garden. But he candidly
says that he bought it at a great bargain
and wouldn't have put in the pool if he
hadn't known it would enhance the re-sale
value. He is among the well-to-to because
he has remained conservative in spite of his
increasing salary, because he has carefully,
habitually invested a major share of his
income. He has the blood of Erin cours-
ing through his veins, but he's a smart
Irishman. He wants a roof for his family
in the future, as well as now when the
spotlight's shining.
He hopes he can go on and on with his
acting, and he finds Hollywood an ideal
place to live. The Aliens, the Bennys, and
the Burnses and Benny Rubin remain the
Haleys' best friends. "Yet we don't have
any more fun than we did when the girls
fixed up a spread in someone's tiny apart-
ment, back in our New York vaudeville
days !" Pictures aren't as difficult as vau-
deville, incidentally. "There one had to
absolutely depend upon himself. You either
clicked or you didn't. Nobody advised you
how to get on, or gave you a retake."
Still, he is remarkably honest when he
concludes, "If I had to begin today I doubt
if I could get over at all on the screen. I
don't see how beginners can secure any
training. Comedy after all is developed
by audience reaction ; fundamentally, it's
a matter of timing. If you haven't an au-
dience to practice on, if you can't alter and
polish, how can you improve?"
The big shot among forgotten magnetic
men — if there is such a tribe — is the suc-
cess who has finally made good with Hol-
lywood itself. It's a grand and faintly
ironic feeling that bubbles over in Jack to-
day. And if he isn't upsetting himself or
the one he loves, nevertheless he is excited
beneath his calm at this late recognition.
"Imagine!" he exclaims with a modest
whistle. His blue eyes are more sky-blue
than ever as his cherubic face lights up. He
gives an embarrassed shrug, then a puz-
zled look possesses him. "I never quite un-
derstood why nobody ever wanted to in-
terview me before. You know I've really
been getting paid very well all along. I
guess I shouldn't admit it, but I always
wondered — secretly — why no one ever got
any assignments to talk to ine. And now
I'm, well, I'm afraid I W(5n't come up to
your expectations!"
Hand your applause to Haley. He de-
serves it.
[ WH/IT fi
\ P0W9ER MNIC
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GARBO FINDS LOVE
(Continued from page 24)
deprived of. To thoroughly enjoy the com-
plete companionship of the man she loves
satisfies her at the moment. Dwelling near
him in a flower-decked villa by the sea,
with time to revel in his company, is more
bliss than she has believed ever could be
hers. _ And yet, she is timid about an-
nouncing her new-found happiness to the
world. She continues to hide her love
behind words like friendship and compan-
ionship. Is it because she feels that to
confide her feeling would be to lose her
chance of its continuance? Perhaps.
And, as we go to press, word comes to
us that Garbo and Stokowski have silently
stolen away from their retreat in Ravello
and have moved on to Taormina, a seaside
village in Sicily. Rumor is rife that here,
under the shadow of the ever-smoking
volcano. Mount Etna, they will be married.
Whether they will or not, only time will
tell, but the fact remains that Greta Garbo
has found love, which she always feared
was not in store for her. And, knowing
values as she does, it is our guess that
she will keep it, and our wish that she will
find continued happiness in the companion-
ship of the man she loves — Leopold Sto-
kowski.
HER STAND-IN MADE HER
A STAND-GOT
(Continued from page 70)
I finished out my nine-week course. So I
went to work as a model.
"I learned a little more about acting. Not
much, but a little, and every little bit
helped, believe me. Especially when a
studio offered me a screen test. I took the
test from 8:30 to 12:30, and at 3:30 that
afternoon was on the train to 'LooahvuL'
Four days later Judi finished her course,
and came down to visit me. She was there
when word came for me to get started for
Hollywood. So mother and I set out.
And Judi cried all over the place,
was so happy for me."
In Hollywood, the newly-arrived
ambitious Marjorie felt that she was
ting nowhere. She was discouraged,
happy.
"I kept writing Judi about it. And Judi
didn't come right back at me with a bunch
of pep talks — which wouldn't have done
any good. She wrote : 'I got you into it,
and if you don't like it, honey, I'm all for
your getting out of it. Come on home and
get married and forget Hollywood.' "
"I wasn't disappointed in Marjorie," in-
terrupted Judi. "I was disappointed in
Hollywood. I wrote her that, too."
"It helped, too," said Marjorie, "but
Mother was the one who made me stick
it out. Mothers are that way. 'No, you've
got to stay. You've got to show them.'
I'd pack my bag and she'd unpack it. When
my contract was almost up, and I knew it
wasn't going to be renewed, we had quite
some scenes. I said I couldn't see spend-
ing her money to stay in Hollywood, just
to hope.
"But, almost immediately, another studio
signed me. That was a year ago. I saw
I was going to learn things, have a chance.
I wired Judi : 'Come on out — we're on our
way.' "
She did extra work at first. "I wasn't
deserving of a stand-in till 'Second Honey-
moon.' They told mc about the second day
she
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that I could have one. I ' spoke up for
Judi. They found out that we didn't look
very much alike, and kept saying 'No.'
Finally, I said, 'Look — she's my best friend.
She's got to have the job.' I needed her
now, more than ever. I needed her advice
and encouragement. I needed her help
to make the most of the chance I had.
"She was the one who had the belief
that I had talent. I wasn't. I just had the
desire to have talent. Judi thought I could
act, but didn't quite know how. She'd re-
hearse me for hours on end. She had the
patience to do that. She cried at the pre-
view, boohooed like a baby. She said,
'You've done it!'
"I dreaded that preview. I didn't see
how I could live through the agony, or
how I'd be able to live afterward. I could
just hear people saying, 'That terrible girl,
so silly, so gapey. She can't act.' I still
can't understand why they didn't say all
that. I can't see why they said I was 'new
and different.' I may be new, but I can't
see how I'm any different.
"I don't know what kind of roles Mr.
Zanuck has in mind for me, but I have a
hunch. 'Natural' roles. If he ever called
on me to be a dramatic actress, I know I'd
be all hands and feet. At least for a couple
of years yet. And if they ever wanted me
to play a beauty— that would be just as
bad. I don't have so much as one dimple."
AFTER "Second Honeymoon," Louis-
■ ville wanted her to make a personal
appearance there. And she was all set
to go, when her phone rang. The man
calling said he was Gene Markey, the pro-
ducer.
"The idea of Gene Markey calling me
was preposterous. I suspected it was the
publicity man on the picture. He was al-
ways kidding. I said, 'Not Gene Markey,
the big shot?' 'Yes, Gene Markey — the, er,
big shot.' He had a role for me in 'Sally,
Irene and Mary.' I joked right back. Fi-
nally, he said, 'If you don't listen to me,
young lady, I'll tell Mr. Zunck on you.'
Then he gave up.
"The next morning, Mr. Markey's sec-
retary called me and said, 'If you don't
come right over, he'll drag you here.' If
I ever wanted to sink straight through to
China, that was the time. I worried for
two days about losing my job.
"And I ," said Judi, "helped her worry.
I did some of the talking over the tele-
phone that night."
Marjorie fastened those shining brown
eyes on me. "Do you want to know what
gives me the most marvelous feeling in the
world? To be in the picture at the end
of ten days. By that time I feel as if
they're going to leave me in it. I live
in mortal dread of being in a picture only
two days and then being yanked. When that
happens, it will take more than encourage-
ment to get me to stay in Hollywood. I
don't know if I could take it."
Is she afraid that success will do things
to her friendship with Judi ?
Their instant, whole-hearted smiles were
reassuring answers to such a question.
Marjorie said, "We live the same as we
did in college, except that Mother's with us.
We sleep in the same room. We both
vvear the famous black hat. We're two
girl-friends, having a grand time together.
"I'd still be myself if I were in Judi's
shoes and she were in mine. If I ever
started acting any differently toward her,
that would be the first touch of "going
Hollywood.' "
Judi leaned toward me and said, confi-
dentially, "Don't worry about Judi. She'll
never be mistreated. Not by Marjorie
Weaver.' Judi added, "And with her looks
and her talent, and my ambition for her —
well, what's going to happen to Garbo
and Dietrich?"
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MODERN SCREEN
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GOOD HEWS
{Continued from page 97)
Madeleine Carroll put in a strenuous
day on the "The Adventuress" set a while
back. The scene was a shell-torn Spanish
town, and the action called for Henry
Fonda to drag Miss C. over a pile of
rocks. The thing was shot over and over
again, until Madeleine called a halt and
took time out to bolster her posterior with
a pillow. War is one thing, but a girl's
anatomy is certainly another.
Ingenuity Plus
It took a prop man to solve a momentous
problem on the set of "White Banners" the
other day. The scene they were shooting
showed Jackie Cooper, in tweed knickers,
leaving the home of Bonita Granville to go
skating. Everything was set when the
cameraman announced that the tweed
trousers would photograph white, which
would never do. The director, the assistant
director and everyone else sat down to con-
fer, when the prop man produced a spray
gun, sprayed the Cooper pants with brown
lacquer, and the show went on.
Rosalind Russell stopped in at a promi-
nent Hollywood beauty parlor recently and
was talked into a "personality" hair-do.
After being sculptured to perfection, she
was led out to the dryers. Rosalind took
a look at the other gals in the room and
discovered they all had "personality" treat-
ments. Miss R., after a few censored re-
marks, ripped heck out of her new per-
sonality and walked out of the "jernt."
Technician Loy
Press Agent Item: "Myrna Loy is so in-
terested in 'process' shots that she spent an
entire day at the studio, when her own
work was finished, watching Clark Gable
doing 'process' scenes for 'Test Pilot.' " Miss
Loy's interest in the technical end of pictures
is Hollywood legend. She often amuses, but
never surprises, her co-workers by insisting
on building her own sets. Between scenes
she can always be found rearranging the
heavy arc lights, or "grips," as she calls
them.
Mae West, who has long been rumored
the owner of the Ravenswood Apartments
in Hollywood, where she lives, denies
everything. Mae says she hasn't an apart-
ment house to her name. As a matter of
fact, the Ravenswood is owned by the
George Pepperdine Foundation, a philan-
thropic organization, and Mae's rent helps
support a Home for underprivileged girls,
a classification in which Mae herself has
never been included.
Sam's Fraud
Samuel Goldwyn is beamingly happy
over the fact that his highly publicized Nor-
wegian star, Sigrid Gurie, turned out to be
a fraud. Sam, who imported her from Nor-
way, spent a year teaching her English, and
not until a mysterious husband sued her for
divorce did he learn that Miss G, was born
and raised in good old Brooklyn, where a
number of elementary schools include
English on their regular curricula. But it's
all good publicity, and Mr. Goldwyn has yet
to shudder at a press clipping.
FOOT ITCH
ATHLETE'S FOOT
Send Coupon
Don^t Pay Until Relieved
According to the Government Health Bulletin
No. E-28, at least 50% ot the adult population of
the United States are being attacked by the dis-
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Usually the disease starts between the toes.
Little watery blisters form and the skin cracks
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scratch oft all the skin.
Beware of It Spreading
Often the disease travels all over the bottom of
the feet. The soles of your feet become red and
swollen. The skin also cracks and peels, and the
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Get rid of this disease as quickly as possible, be-
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Most people who have Athlete's Foot have tried
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Ordinary germicides, antiseptics, salve or oint-
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Here's How to Treat It
The germ that causes the disease is known as
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H. F. was developed solely for the purpose of
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As soon as you apply H. F. you will find that
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111
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MODERN SCREEN
MOVIE REVIEWS
{Continued from page 81)
"jAr* Sally, Irene and Mary
"Sally, Irene and Mary" is an average
screen musical, worth seeing because it is
full of gags (some good and some you-
know-what), because there are several good
musical numbers, and mainly because it has
Fred Allen. The persimmon-panned Mr.
A. walks away with the show.
Sally, Irene and Mary are the names
Mr. Zanuck has given Alice Faye, Joan
Davis and Marjorie Weaver, three stage-
struck manicurists who have placed them-
selves under the management of Allen, a
shoestring theatrical producer. Their plans
for a musical blow up when Alice Faye
falls in love with singer Tony Martin, who
is the sweetheart of the show's potential
backer, Louise Hovick. Later Marjorie
Weaver inherits a worn-out river barge,
and with the help of Gregory Ratoff and a
little tinsel the thing is converted into a
showboat — and the show goes on.
Alice Faye and Tony Martin handle the
romantic tunes effectively, and Joan Davis
and Gregory Ratoff furnish a riotous mo-
ment with their parody on a Russian num-
ber. Jimmy Durante, as a street cleaner
who becomes a producer, furnishes his own
robust type of comedy and draws his share
of the laughs. Marjorie Weaver, who has
little to do, is disappointing. Directed by
William Seiter. — (20th Century-Fox).
Fools for Scandal
Mark this down as one of the season's
major disappointments. With Mervyn Le-
Roy at the helm and a cast headed by
Carole Lombard and Fernand Gravet, the
picture should have been a howling success,
and audiences have a right to expect just
that. What they get is a confused mixture
of slapstick and supposedly continental
comedy, and the result can hardly be
recommended to discriminating patrons — ■
unless an extra special set of dishes goes
with it.
The story deals with the romance between
an American movie star incognito in Paris
and an impoverished marquis who charms
her with crepes suzette and a Gallic
manner. The personable nobleman joins
her household staff as a cook, breaks up
her engagement to a stuffy insurance sales-
man (Ralph Bellamy) and wins her for
Carole Lombard and Fernand
Gravet are "Fools for Scan-
dal" but it's all in good fun.
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112
MODERN SCREEN
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himself. Handled with more skill, this plot
might have formed the groundwork for
swell comedy. As it is, it will confuse
some audiences and bore others.
Fernand Gravet suffers by comparison
with his American screen debut in "The
King and the Chorus Girl," although he
manages to lend his role more charm and
appeal than a less capable actor would have
given it. Carole Lombard's fans are in for
a letdown, for her work doesn't measure up
to the hilarious portrayals she has recently
given the screen. Ralph Bellamy is excel-
lent as the insurance salesman, and Marie
Wilson gets laughs as Miss Lombard's
maid. Isabel Jeans, Allen Jenkins and
Marcia Ralston head the supporting cast.
Directed by Mervyn Le Roy. — (First
National).
Romance in the Dark
If the advertisements for this one mention
'a new Gladys Swarthout" you can pretty
well believe them, for "Romance in the
Dark" offers Miss Swarthout the best op-
portunity she has had in pictures. Para-
mount has contrived a neat comedy with
music which should win her many new
friends.
Best thing about the picture is that its
music fits inobtrusively into the _ story.
There are nine musical numbers in the
film, some sung by Miss Swarthout alone
and some in duet with John Boles, and
they are all pleasant to listen to.
Comedy is supplied in abundance by John
Barrymore, who has recently been busy
brightening up the screen with his own
special brand of high comedy. As a ro-
mantic impressario with a keen eye both
for business and beautiful women, he is a
constant delight, and walks away with all
of his scenes. John Boles appears a bit
more relaxed than has been his custom_ of
late, and there are fine supporting roles
by Fritz Feld, Claire Dodd and Curt Bois.
There is but one criticism for Miss Swar-
thout. Despite her beauty, she still appears
cold and aloof on the screen, although her
work in this picture shows evidence of
considerable defrosting. Directed by H.
C. Potter. — (Paramount) .
The First Hundred Years
You've seen this one before. It concerns
the modern, sophisticated young couple
whose careers conflict. Robert Mont-
gomery wants to go to New Bedford and
build ships, and Virginia Bruce prefers to
stay in New York with her profitable
theatrical agency. They can't agree, so the
usual separation ensues. Then there is the
alluring Other Woman, admirably played
by Binnie Barnes, and the understanding,
good-humored Other Man, nicely portrayed
by Lee Bowman. Things look helpless un-
til the advent of — surprise ! — the elderly rel-
ative, who, despite advancing years, turns
out to be more modern than either of the
young battlers. There are moments of
light-hearted banter which are pleasing,
and there are several good performances.
Main trouble is that it has all been done
before, even up to the ending, when the
modern young couple is reunited by the
old-fashioned stork.
Robert Montgomery, who is used to this
sort of thing, plays it well, but he has
served his time and should get what he
deserves, better roles in better pictures.
Virginia Bruce, unattractively gowned,
tried her best to make the young wife a
believable person. Allan Dinehart is good
as a blustering lawyer, but Warren Wil-
liam seems out of place as a sophisticated
New Yorker due to the fact that he wears
Spanish sideburns and those shirts with the
long, pointed collars. Richard Thorpe di-
rected.—( .U-G-iU ) .
. BUT
ISN'T ALL
MASCARA
JUST ALIKE?
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113
ALKIES
Racksround of the ^ • . j^ic of 18d3 turm^ , mamly
War The yellow i^ver ePide;^ ^ *e film d\
Iccept her defeat. Her c Brent) young banker
?-hrhot-headed young man i.^ picture's e"<i,^"fieper colony, wrth
iy accompanymg the m ble.
death. ^ ,^^3 a fine job, ^ni fj^l"^ fs Portrayal of
and John Litei. immmmmKKtttttKKKKf
** Merrily We LWe
. f=,mUY, this film
^ Merrily We Live f J^^grtainment yo^l\^^Xre to add to the
★★The Girl of the "^o'";; , „„ b„„
iiSiliiiiis
patronized only ^y.^,^,e kelson Eddy
a^^Se or^^s 1^, ,,ey must l^ve ^^'^l^;^^:^
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pleasing songs^ Directed by Robert hmmT-^-^
Pick your pictures by our reviews and youll enjoy them more than ever
114
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SIMON
''HOLLYWOOD IS
NOT FOR ME!''
— Sylvia Sidney
1:1
MODERN SCREEN
Well, I'm Elected
I've got "Pink Tooth Brush" now!
Sleglecf, Wrong Care, Ignorance of ihe Ipana Technique
of Gum Massage -all can bring about
ANN: "Hello, Jane. Well,
the latigh's on me— there's
a tinge of 'pink' on my
tooth brush. What do I do
now?"
JANE: "See your dentist,
pronto. Cheer up, my pet-
maybe it's nothing serious!"
ANN: "Good heavens, I hope not. What did
Dr. Boiven tell you?"
JANE: "Mine teas a plain case of gums that
practically never work— I eat so many soft
foods. Believe me, I've been using Ipana with
massage ever since. It's made a loorld of dif-
ference in the looks of my teeth and smile!"
ANN: "You make good sense, darling. Guess
there's just one thing to do— find out tvhat
Dr. Bowen tells me..!'
Don't let "Pink Tooth Brush"
ruin your smile
WHEN you see "pink tooth brush" see
your dentist. You may not be in for
serious trouble, but let him decide. Usually,
he'll tell you that yours is merely another
case of neglected gums. Because so many
modern foods are creamy and soft, they fail
to give our gums the exercise they need.
That's why so many dentists today advise
"the healthful stimulation of Ipana with
massage."
For Ipana, with massage, is especially de-
signed to help the gums as well as clean the
teeth. Each time you brush your teeth, mas-
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circulation increases within the gum tissues,
gums tend to become firmer, healthier.
Play safe! Change today to Ipana and
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sounder gums — brighter teeth— a lovelier
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* * *
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MODERN SCREEN
MOiRN CLEOMTRA?
THE GLAMOUR-QUEEN of the Nile knew this \
fascinating secret — the lure of a smooth and
deliciously fragrant skin. . .
TAKE A TIP from History's No. 1 Charmer and
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Makes you alluringly fragrant. Use Djer-
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The same delightful fragrance in Djer-Kiss
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«fc n <fc II
MO
Copyrisht, 1938, by Dell Publish! ns Co. Inc.
Regina Cannon Editor
Leo Townsend Hollywood Editor
Abril Lomarque Art Editor
NOW SHOWING
HIZZONER THE MAYOR 6
MR. B, GOES TO TOWN 8
"HOLLYWOOD IS NOT FOR ME!" 26
FOR HE'S A SERIOUS FELLOW 28
THAT GIRL'S HERE AGAIN! 30
A MAN WITHOUT FEAR 32
FIRST AID FOR FALLING STARS 34
WRECKING THOSE RUMORS 36
DON AMECHE'S SECRET HAPPINESS 38
FAREWELL TO FRANCIS 40
FIGURE IT OUT THIS WAY 42
THE SKIPPER AND HIS LADIES 44
THE LOVES OF LAMOUR 46
TEMPESTUOUS TENOR 47
SUIT YOURSELF 48
FUNNIEST GAL IN TOWN 50
SHORT SUBJECTS
MOVIE REVIEWS 10
OUR PUZZLE PAGE 14
BETWEEN YOU 'N' ME 16
PORTRAIT GALLERY 19
OFF THEIR GUARD 51
GOOD NEWS 62
FALL FORECAST 70
EXTRA ADDED AHRACTION! 76
INFORMATION DESK 82
GEORGE BENJAMIN
MACK HUGHES
NANETTE KUTNER
GLADYS HALL
IDA ZEITLIN
CAROLINE S HOYT
VIRGINIA VANCE
DORA ALBERT
MARY PARKES
FAITH SERVICE
MARY MARSHALL
MARTHA KERR
DOROTHY GULMAN
ROBERT MclLWAINE
ANN WILLS
MARY SHARON
WHAT TO SEE
MOVIE X-WORD
PRIZE LETTERS
OF YOUR FAVORITES
CANDID SHOTS
MOVIE CHATTER
NEW KNITS
ANITA LOUISE'S RECIPES
OUESTIONS ANSWERED
Modern Screen, No. 301773. Published monthly by Dell Publishing Company, Incorporated. Office
of publication at Washington and South Avenues, Dunellen, N. J. Executive and editorial offices,
149 Madison Avenue, N. Y. Chicago, III., office, 360 N. Michigan Avenue. George T. Delacort&,
Jfv, President; H. Meyer, Vice-President; J. F. Henry, Vice-President; M. Delocorte, Secretary. Vol
17, No. 2, July, 1938. Printed in the U. S. A. Price in the United States, $1.00 a year, 10c a copy.
Canadian subscriptions, $1.00 a year. Foreign subscriptions $2.00 a year. Entered as second class
matter, September 18, 1930, at the Post-office, Dunellen, New Jersey, under act of March 3, 1879.
Additional second class entries entered at Seattle, Washington; San Francisco, California; and
FHouston, Texas. The publishers accept no responsibility for the return of unsolicited material. Sole
foreign Agents: The International News Company, Ltd., 5 Breams Building, London, E.C. 4, England
Names of characters used in stories and in humorous and semifictionol matter ore fictitious. If the name
of a living person is used it is purely a coincidence.
i
4
I
MODERN SCREEN
TWO YEARS IN A ROW
THE PRIZE AWARD!
Talented Luise Rainer again
wins the Academy Award. This
time for pathetic Olan in "The
Good Earth." Last year for Anna
Held in "The Great Ziegfeld."
Her new role is her greatest!
-K^uust aS
¥HE TOY IXJIFE
. . . wlio lias youtk an J beauty an J all
tlie world to ^amtle it in... "life slips too
kurrieJly ty, so sip tke cup of frivolity
and danger wkile you may" . . . you will
watck witk keatin^ keart tkis sensational
drama of New Orleans' gayest, maddest
era in Metro -Goldwyn- Mayer s glamor-
ous production. In tke cast also: MELVYN
DOUGLAS, ROBERT YOUNG,
Barbara O'Neil, H. B. Warner. Directed
ky Rickard Tkorpe. Produced ky Merian
C. Cooper. Screen Play ky Zoe Akins.
^nilliniUlllllllllinillllJrilMIHJllllUIIIJMIJIIJJIIIIIIIJIIIIIIIIJIIIIIIIIIJIIIIIIIMJIIIIJINIIIIJIIIIIMII JIIIIIMIMIIIIIIIIIJII IIIIJJIMIIIII IIIIIIIIIMIIII I I II IIIIIIIIM Illllll I Hill 1 1 1 IMIIIII I IMIIIIIIIIIII llllllllllllllllllllllllllllll
HIZZONEB-
THE MAYOR
iy GEORGE BENJAMIN
Did you know that comedian Hugh
Herbert is a big political figure?
Mr. Herbert writes a column, too. A jack of all
trades and master of — all.
DID YOU know that Hugh Herbert is a Mayor ?
Or, that he's chairman of the Chamber of Commerce?
Yep, there's not a lazy hair in the Herbert head.
In fact, besides these "minor" duties, he's honorary
editor of the town newspaper, and knocks oiT a
column, too. The town, y'know is Studio City. This
doesn't mean the Warner lot either. Nope, it's a
growing section all its own, boasting Glenda Farrell
as Citizen No. 2, to say nothing of the many other
celebrities in residence.
All this Hugh manages after his real job, acting in
the movies, is completed. You must admit there's no
grass growing under the Screen's No. 1 comedian's
feet. For just in case you didn't realize it. our
"Woo- Woo" man polled more votes in a recent popu-
larity contest than any other two funnies combined!
Incidentally, Mr. Herbert explained just how he
came by that Woo-Woo that's made him famous.
"I didn't really start that Woo-Woo! Oh, my no!"
Herbert Amusements, Ltd., stated. "You see, it was
actually the extras who made it a go. I was doing a
picture with Louis Calhern. We had to do location
shots, if the rain stopped. It had been going on for
days ! Louis and I decided to have a couple one
evening. And after — well, shall we say several — we
called it a night, never expecting to be called for
work next day. But at seven a. m. the phone rang,
and they said, 'Report at once !'
"My, my, that was bad ! But, what was worse than
our heads was that the scene was to be made on a
limb up in a tree, about thirty feet ofif the ground.
Louis and I finally got set, and, no sooner did we take
an easy breath than along came a strong gust of wind
to do us in ! Well, as we swayed back, almost toppling,
I said, 'Woo-WOO!' The whole company laughed.
Very funny, very funny indeed, they thought ! \Aniat
they didn't know was how we felt. After that, every
time I walked on a set the extras would give me the
Woo-Woo, so I put it in the act."
Just how Hugh Herbert got started doing
comedy proves you can never tell when your lucky
break will be a disappointment in disguise.
"When I was a kid I used to usher in a stock house
uptown," said Hugh. "I was always observant, even
to remembering niy customers and where they liked
to sit. Before long I was entertaining the scrub-
women and stagehands by giving impersonations of
the acts. My boss saw me and said if he ever had a
spot in the show he'd give it to me. One day he let me
paste on a mustache and go on in 'a bit,' but that was
enough for my customers to recognize me and give
their pal a big hand. Right then and there I took my
bows, several of them, to the manager's chagrin."
HERBERT chuckled as he reminisced, "After a few
of these 'successes.' I wouldn't go back to ushering.
Oh my no ! Too far beneath me ! Some time later
pictures came in, and a girl and I stood Ijehind the
screen and did all the voices of the characters. About
a year of this and I decided I was big stuff, so I
wrote a vaudeville sketch for a fellow and myself.
W e had an agent and were going to be great ; that is,
until we drifted apart before our debut. Later on I
wrote another for a girl and myself, and we actually
played the circuits.
"From this I got an offer to go into a Burlesque.
They were to get a new sketch for me, 'til I showed
them my own and they liked it. This eventually
proved my entree into the legitimate theatre, and I
finally wound up on the coast — where all good actors
go — Woo-Woo !
"But to get back to Studio City ! I sure like being-
its mayor. We get things done. Have the streets
lighted and paved already. It's a growing, important
place. Studio City! Y'know, I get them together for
council meetings, and the aldermen do things because
they must listen to us. We're strong. Why, I sent
out two hundred invitations, and four hundred came
once ! Great response, great !
"Oh, yes," Mr. H. answered. "I do a column on
our town paper. Use lots of my fan mail as material.
Some are very funn}-, my yes — very funny. One
lady wrote me that I reminded her of her dear
departed husband, poor guy, {Continued on f^agr 107)
nniliMiiliiiiiiiiiiiiliiliiiiillliliiiiiitiiiiiiiiiiiiiiiiiiiini
iiMMiiiiiiiiii lllllllllllllllll nil iiiliiiiil ilillllliiiii inn I
niniiitiiiintiiiiiiiiiniiiiiiiiiiiiii
MODERN SCREEN
UJlun t/ou^ jzjU hi(/vt -(jou kuM all ove^!
SAYS Dr.SCHOLL
Wm. M. Scholl, M. D.
"The ill-effects of foot trouble are many. Often they are felt in parts of the
body remote from the feet — in the form of backaches, neuritis, arthritic or
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disposition. Personality — all suffer when your feet hurt. "
Don't neglect your feet! There is a Dr. Scholl Foot
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take pressure off the sore
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FOOT RELIEF
Dr. Scholl's Kurotex,
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CORNS, CALLOUSES
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Dr. Scholl's Foot Pow-
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TIRED, ACHING FEET
Dr. Scholl's Foot Balm
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Dr. Scholl's Foot Soap
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Protector firmly but
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FOOT LOTION
Dr. Scholl's Foot Lotion
cools, sootlies, invigorates
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RELIEVES SORE FEET
Dr. Scholl's Bath Salts
relieve tired, aching feet.
Also useful in bath for re-
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CROOKED HEELS
Dr. Scholl's Walk-Strates
prevent crooked heels,
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CORNS, BUNIONS
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F
TRADE M«RK REG. U, S. PAT. OFF.
CHOLLS rooTVOMFORT Week
7
MR. B. GOES TO TOWN
THERE'S NOTHING like it!" ex-
claimed Ralph Bellamy. "Every movie
actor should come to 'New York at
least once a year. It's so stimulating,
this town, that no one should be away
too long.
"You know, when Catherine and I
came east, I was completely worn out
from overwor k — thank goodness !
But, now that we've had three weeks
holiday here, I feel like a new person.
Not that we've had much chance to
rest, for we haven't, what with
theatres and old friends to see. It's
been three and four o'clock every
morning, but even so, I feel far better
than I did before we arrived. Now
I'm all set to go back and do some
hard work."
This seems to be the general opin-
ion of those immersed in the vast
business of making movies. Nothing
is quite so relaxing as a complete
change, particularly when the new
scenery is the axis about which things
concerning your main interest in life
(acting) revolves. For it was from the
New York theatre that Ralph Bellamy
"The Awful Truth" is that
Ralph didn't want to play in it.
went to join the movie colony.
"At home, you know, when friends
gather, there seems no way to escape
discussing the picture business. But in
New York that isn't so. There are so
many other things to divert one , the
opera, commercial business and, of
course, the theatre," explained Mr. B.
All things considered, it is only
logical that movietown dwellers are
primarily interested in -movies, for
there, everything centers around the
picture industry. Everyone seems con-
nected in one way or another with this
enterprise. Even, as Mr. Bellamy
points out, most of the natives and
settlers are in some way or other
concerned. Once they've retired and
settled in Hollywood, with their life
savings, they register with Central
Casting for an occasional job as extra.
"So you can understand why they
have fourteen thousand people regis-
tered for these jobs when there are
approximately only three thousand
jobs," continued Bellamy.
"Did I say Hollywood was the only
place where the topic of conversation
was pictures?" laughed Mr. B. "Well,
since you liked 'The Awful Truth,'
I'll give you the low-down on it !
"I had had {Confiiiiicd on page 105)
Ralph Bellamy takes some bows which he claims he doesn't rate
8
MODERN SCREEN
HERE THEY COME ON A MILLION DOLLAR SPREE
TO WAKE AND MAKE AND TAKE PAREE!
Those gorgeous "Gold Digger"
lovelies have taken America
twice! Now see what they do
to 50 million Frenchmen!
\
& 4 Brilliant Song Bits
"Day Dreaining"'"A Stranger
in Paris" • "The Latin Q uarter"
"I Wanna Go Back to Bali"
Starring iX^^.
RUDY VALLEE
ROSEMARYLANE-HUGH HERBERT
ALLEN JENKINS. GLORIA dickson
MELVILLE COOPER • MABEL TODD • FRITZ FELD
Directed by RAY ENRIGHT • Screen Piny by Earl Bnldnin and
Warren DulT • Slory by Jerry Wold, Riclinrd Mocnulny, Mouricc Leo
From on Idea by Jerry llorwin and James Seymour - Music and Lyrics
by Uarry Warren and Al Dubin • A WARMER BROS. PICTURE
9
PWot
^^"^"•i^rm^^^oS of ttose ra e PK^^3 ^^'f .f^^u'nnshes some of
SiggiiigiSs
T oy is at her cM-ti J^^'^Tlpst scene ts V^l^^l^^i the pi\ot
SSf t-Ss' rv"-'- "
Pearson. - ; terrinc
bails out. Victo — *
-^-^-^ Por+ Seven ^6 ^ ^ ,^^^.,,ritten
"-^-^"xVXte Been-, the ^ ° f Marges a'^,,^, F.ank
Four Men and a ^ -^^ • ,„
„ere ■■"' indication. ^^^^^^^^^ fate » p.oceel-
Pray
er
rlebvit, score> as a ' the P ctu^e "^f-' /„ „ei, and the
f M.br^ Snnth^ P^^^J^i^llfbS C^""'-^-^"'^--
BY LEO TOWNSEND
10
MODERN SCREEN
ROM STAGE HIT
TO SCREEIM SE^SMTIOIM
and heart 'lighting laughtet! . • . The play
York • • • screened in all the punch
that kept it running month after
your hoped-for thrills from the
in the vacation-camp romance
adventures you've ever
in new places among
DON'T LET AtMVTHIDlG
in a blaze of glorious romance
that pierced the armor of New
and drama and excitement
nth on Broadway! • • • Get
screen this summer , • •
that piles up all the
dreamed for yourself
strange faces!
KEEP YOU JiYYJlY!
Screen play by
KKTHUR KOBEK
ndapteil from his
New York Stage sue-
eesB a» prottuceii by
IHARC CONNtLLV
PEGGY CONKUN • LUCILLE BALL LEE BOWMAN
RICHARDri^Eo;SKELTGNANN MILLERDGNALO MEEK
A PANDRO S. BERMAN Ptoduction - Diteded by ALFRED SANTELL
R ;< O
RADIO
PICTURES
V
11
**** The Adventures f ^"^^.^"b*.
most romantic and ^.^^^ ^"Suvia De Havilland
is splendid as *e "05 Gisbourne Ul>^la ^ ^^^^es much
the co-directori
Brothers.
r .hv OPUS offers something rare i
is most ably ^^^amut irom high ^^"'ifonly r GipsY Knows
Mary Carlisle is 1
Tuttle.-Paranio»n*.
***To the V.clor
. . _:„<-„rp who
\0 Tne - lies in
WuU The dog's °";yXg sequence Owd Bob ^^m^^^ e,
(John Loder) ^".^^^"d ntan g°«^^^tg Blade WuU, is a kil en
Broken h^rted the °' ^ven that hi. dog, Bia ^^ .^^ dog-
-.rS^r'-o -^--vi * s on pa,e 80
Pick your pictures by our reviews and you will enjoy them so much more
12
MODERN SCREEN
tversaf prouJlv presents The Arnencan Dahut of
ofloifLLE umm
The girl whose exquisite heaiit^ . . .
charm of performance... has made her
the most he! oveci stage and screen
star in all Europe . . . The star of the
sensational MA Y^ERLING ■ ■ ■ which all
America has taken to its heart!
DANIELLE DOUGLAS
DARRIEUX-FAIRBANKS,Jr.
THE RAGE
OF PARIS
with
MISCHA HELEN LOUIS
AUER BRODERICK HAYWARD
Original Story and Screen Play by Bruce Manning
and Felix Jackson
Directed by HENRY KOSTER who made
"3 SMART GIRLS" and "100 MEN AND A GIRL"
Produced by B. G. de SYLVA
CHARLES R. ROGERS
Executive Vice-President in Charge of Production
HELEN BRODERICK
MISCMA AUER
13
MODERN SCREEN
DANDRUFF ITCH?
79
Use This Antiseptic
Scalp Treatment
Skin specialists generally agree that effective
treatment must include (l) regular cleansing
of scalp; (2) killing germs that spread infec-
tion; (3) stimulating circulation of the scalp;
(4) lubrication of the scalp to prevent dryness.
To Accomplish This Is Easy With
The Zonite Antiseptic Treatment
Just add 2 tablespoons of Zonite to each
quart of water in basin . . . Then do this: —
t. Massage head for 3 minutes with this
Zonite solution. ( This gives hair and
scalp an antiseptic cleansing — stimu-
lates scalp — kills all germs at contact.)
2. Lather head with any good soap shampoo,
using same Zonite solution. ( This cuts
oiland grease in hairandscalp — loosens
dirt and dandruff scales. J
3. Rinse very thoroughly. (Your head is now
clean — your scalp free from scales.)
4. If scalp is dry, massage in any preferred
scalp oil. f This relieves dryness.)
RESULTS: By using this simple antiseptic
shampoo treatment regularly (twice every
week at first) you do what skin specialists
say is necessary, if you want to rid yourself
of dandruff itch and nasty scalp odors. We
belisve that if you are faithful, you will be
delighted with results.
TRIAL OFFER— For a real trial bottle of Zo-
nite, mailed to you postpaid, send lOfito Zonite
710 Nev.' Brunswick, New Jersey
U. S. A.
ZONITE Is
9.3 Times More Active
than any other popular, non-poisonous
antiseptic— by standard laboratory tests
OUR PDZZLE
AS
46
47
■
S3
57
59
■
66
39
■
44
49
55
56
bO 61 62
67
76 7 7 78
91
96
103
70
79
8b
71
87
92
97 98
:j04
109
199
105
63
64
65
68
74
|80
■
69
75-
ei
90
89
101
100
106 107
109
52
82
83
95
i02
64
ACROSS
1. First name of star pictured
8. He was "The Thin Man"
14. Friar Tuck in "The Adventures of
Robin Hood"
15. Gene Lockhart's wife
17. Blacky in "Tip-off Girls"
18. Ma Wilson
20. " Many Wives"
21. Producers Wurtzel and Lesser
23. P - - 1 Kelly
24. State of Alice Faye's birth ; abbr.
25. Cortez
28. Moran
30. Sheds blood
33. Gombell
34. Contradiction
35. Consumes
36. Winged parts
38. " Since Eve"
40. Mar Dietrich
41. Antitoxins
43. Gift by bequest
45. Exclamations
48. Tear
49. Cliff Edwards is Ukulele - - -
50. Anne rley
53. Film ready to be shown
55. More quiet
57. What Novarro was in "The Sheik
Steps Out"
58. English actress, Ray
Answer to Puzzle on Page 91
59. She was our star's last wife
63. Oriental
66. Printer's measures
67. Mosquito in "Girl of the Golden
West"
68. Court of Common Pleas : abbr.
69. Color
70. Star of "The Divorce of Lady X"
73. Great arteries
76. Norse chieftan
79. Flower container
80. Ben Volt in "College Swing"
81. Split
85. Mrs. John Barrymore
87. A gradual passing
89. What Elissa Landi was in "War-
rior's Husband"
91. MacMahon
92. Flowering tree
94. Article
95. Public notice '
96. Heroine of "Reckless Living''
97. Gum
99. - - - ry Crabbe
100. Dwellers
103. Feminine dressing gown
106. Our star's last film was "The
and the Butler"
108. Tom Logan in "Tip-off Girls"
109. Male lead in "International Settle-
ment"
14
MODERN SCREEN
PAGE
DOWN
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
19.
22.
26.
27.
29.
31.
32.
34.
37.
39.
42.
44.
45.
46.
47.
50.
51.
52.
54.
56.
60.
61.
62.
63.
64.
65.
70.
71.
72.
73.
74.
75.
76.
77.
78.
82.
83.
84.
86.
90.
92.
93.
98.
101.
102.
104.
105.
107,
" Lord"
What our star's recovering from
Star of "Professor, Beware!"
Ginger Rogers' estranged husband
Roman highway
"Blondes - - Work"
Kindnesses
State of our star's birth ; abbr.
Kruger
"--- Killed Gail Preston?"
Hollywood stars to Yuma
Director Mervyn - - Roy
Star of "It's Love I'm After"
One of Fred Stone's actress
daughters
Core
Mickey in "You and Me"
Oliver Hardy's nickname
King Richard in "The Adventures
of Robin Hood"
Talbot
Mohammedan priest
Selznick's nickname
"You Live Once"
And : Fr.
Hindu women's garments
Heroine of "The Lone Wolf in
Paris"
Mrs. Johnny Weissmuller
Roman shield
Epoch
Sir ric Hardwicke
Oral plate
Egret
Bangs
Spirited horse
Male lead in "Jezebel''
Star of "The Tov of Living"
"--- Tide"
" ists and Models"
Priestly vestment
Female ruff
Maureen O'Sullivan's role in
"David Copperfield''
Natural color
The baneberries
Watering place
Howl and
City of Sonja Henie's birth
Star of "The Show Goes On"
Sucks up
Oil : comb, form
Jerry in "Professor, Beware!"
Late actress mourned by our star
Male lead in "Everybody Sing"
She won the Academy Award
again this year
Judy Garland will make
"The Wizard of - -"
What the M-G-M lion does
Finishes
.Anneals : dial. Eng.
Public Works Administration :
abbr.
One of Vallee's alma maters
Italian : slang
Mend
Thus
Bode : var.
S-shaped worm
"The - - Getter"
Andrea L - - ds
Initials of Bruce Cabot's ex-wife
NO DATES IN MARY'S BOOK
NO SONG IN MARY'S HEART
She doesn't dream that
underarm odor is the reason
men pass her by!
Mary is pretty, vivacious, and young— she
should be as popular as any girl around.
Yet the men that she meets always seem
to avoid her. Through glorious summer
evenings she sits home alone, while men
take other girls out on good times!
Too bad Mary doesn't realize that it
takes more than a bath to prevent under-
arm odor — that underarms must have
special care to keep a girl dainty and
fresh, safe from offending.
Wise girls use Mum! They know that
a bath takes care only of past perspira-
tion, but Mum prevents odor before it
starts. To avoid all risk of offending
friends — use Mum every day and after
every bath. With Mum, you'll be sure
your charm is lasting, you'll be a girl
that men always find attractive!
MUM IS QUICK! One-half minute is all it
takes to smooth a quick fingertipful of
Mum under each arm.
MUM IS SAFE! Mum is soothing to the
skin, harmless to every fabric. You can
use it right after underarm shaving.
MUM IS SURE! Without stopping perspi-
ration, Mum's sure protection lasts all
day or all evening long. No worries,
then, about unpleasant odor. For Mum
makes underarm odor impossible!
IT TAKES MORE THAN A BATH — IT TAKES MUM
my bath alone
can't keep me
SAFE -that's why
I USE MUM !
For Sanitary Napl<ins —
No worries or embarrass-
ment wloen you use Mum
tliis way. T!>ousands do, he-
cause it's SAFE and SURE.
^ TO HeRSfLF^^^^"^
it's marvelous \
to dance every dance
and know that mum
still keeps vou
SWEET!
Mum
TAKES THE ODOR OUT OF PERSPIRATION
15
MODERN SCREEN
'tm^ BETWEEN YOO'N'ME
c<24tka4^t
neet.
UNSIGHTLY HAIR
WASHES OFF QUICKLY
with New Cream
In a bathing suit . . . evening gown . . . even
through stockings ... unsightly hair spoils
your charm and drives away romance.
Now you can easily have lovely legs
and arms—hee of ugly hair. Just spread
on NEET, as you would a cold cream.
Then rinse off with water ! NEET removes
all hair — delays re-growth — leaves your
skin petal-soft and satin-smooth.
Avoid Unpleasant
Razor - Roughness
Say good-bye to rough skin and sharp,
wiry hairs that grow in after shaving. No
razor stubble to snag your stockings
... no danger of
cuts when j'ou use
the safe and easy
NEET method.
Don't let summer
romance pass you
hairfce/ou, by. Shorter skirts,
summer dresses and
beach wear spotlight
arms and legs as never before. See that
yours are lovely. Do as millions of women
do — remove unsightly hair
with NEET. Get it today!
At drug and dept. stores.
Trial size at 10c stores.
Magnified view of sharp
bristly hair after shaving.
Snags stockings.
NEET
skin surface — delays re-
growth — no raxor stubble.
NEET
Just Rinse Off
Unsightly Hair
A Boston fan loves her history
and wants more of it in her
movie fare.
$5.00 Prize Letter
Foiled Again
I like music. I like comedy. I like
dancing. But I'll be blanked if I'm going
to sit through another one of those so-
called "musical extravaganzas" again !
I'm one of those suckers who get caught
by those magnificent advertisements that
tell about the girls, laughs, thrills of these
musicals that crop up so often to blight
the existence of us poor moviegoers.
And what do we get? A mess of songs
and dances that barely cling together by
means of the most childish imitations of
plots imaginable. Every so often a troop
of scantily clad beauties dances across the
screen for no particular reason. There is
usually a comedian or two, perhaps a vil-
lain, and so it goes for an hour or so till
the hero gets the girl, the villain is foiled,
and I once more realize that I've been
fooled again, and swear off of musicals
forever (or at least till the next one comes
along) .
Why doesn't someone tell the producers
that it takes more than a song and a dance
to make a picture? Can't we have a musi-
cal comedy that is a musical comedy?
Songs and dances are swell in their proper
places, but they're never there ! As for
the plot, why I can tell you the vi'hole
story of any musical out, after seeing five
minutes of it. So please, producers, let
reason temper music and order temper
dancing and the result will be really en-
joyable entertainment.
— M. Lederman, New Brunswick, N. J.
$2.00 Prize Letter
Glamor's the Bunk
Intelligent fans, who realize that our
stars are ordinary human beings, with their
respective shares of flesh and blood idiosyn-
crasies, will glean keen food for thought
from Modern Screen's May article,
"Glamor For Rent," wherein the theatrical-
ness of the Great Goddess Glamor is de-
bunked.
Wlien Hollywood was in its formative
stage, endeavoring to interest the public
in the affairs of its inhabitants, glamor was
understandable and forgivable. Today,
however, when the people desire their
screen favorites as natural as the man next
door or Cousin Annie from Milwaukee,
glamor is inexcusable, "hammish" and
ridiculous. It detracts from whatever his-
trionic talent an actress may possess. Wit-
ness Marlene Dietrich whose career was
shattered like a thin-blown glass tumbler
hurled against the wall, by the tinsel var-
nish of seductiveness which her employers
wished upon her.
While the majority of our leading fe-
male lights might have begun their careers
as overdone temptresses, they are now,
thanks to their own inherent intelligence,
acting and conducting themselves on and
off the screen like people, not like gaudy
automatons.
— Marice Jacobs, Philadelphia, Pa.
$2.00 Prize Letter
A New High
When I, at the tender age of something-
or-other, first saw a moving picture, I
was dumbfounded that actual likenesses
could be projected on a screen and made
to move. When I saw my first talkie,
I was amazed. Surely, thought I, when
the motion picture has reached the point
where it can make itself heard, it has
reached the point of perfection !
But, no ! Along came wonderful techni-
color and I was thrilled even more that
the actual flesh-like appearances of the
stars could be projected before my very
eyes.
Along came Walt Disney's superb "Snow
White and the Seven Dwarfs," a picture
that blends all the marvels of the past and
yet adds another — drawings that move,
talk and have power enough to sway your
emotions! A picture that truly tops any-
"Will Shirley Temple remain
unspoiled?" asks a young lady
from Ohio.
thing that I have seen in the entertain-
ment world !
No doubt the motion picture will go on
to still greater heights, just as it did in the
past when I doubted that it could go fur-
ther. But, in spite of that possibility,
after seeing "Snow White and the Seven
Dwarfs," I cannot help but say that the
film industry has reached perfection.
—Hal David, Hartwell, Ga.
$1.00 Prize Letter
Historical Films
Seeing a picture like "Wells Fargo" is
a thrilling experience. As the reels un-
16
MODERN SCREEN
Movie-goers have their say and get cash prizes.
Try it— it's grand fun and you can win!
fold, we all share the desire of the people
for land and freedom— a desire which drove
them ever westward; the building up of
the great express company so that con-
tact between the East and West might be
assured, and that news of important events
might be broadcast as quickly as possible;
and, with it all, the plain simplicity and
courage of these heroic people. Such a
picture, and others depicting the early life
of America, make us proud that we, too,
are Americans, and leave us eager to make
our own lives carry on in the great tradi-
tion. With such a background, and with
such blood running through our veins, we
should seek to be worthy inheritors mak-
ing our country the ideal place our an-
cestors dreamed it would be. Such episodes
in our history are not rare, and it is to
be hoped that the producers will avail
themselves of the rich store of Americana
■ still untouched.
— Mary Chace, Boston, Mass.
$1.00 Prize Letter
Shirley's Trip
The plan of Shirley Temple's mother to
take her on an extensive personal tour to
let the public see that Shirley is real and
not a movie make-up expert's dream is
very fine as far as the idea is concerned.
But, I don't think this trip will do Shirley
any good.
One of the radio commentators made an
appeal to the public some time ago to
treat Shirley as an ordinary child and
give her a chance to see the cities she will
visit. This is not possible. The minute
Shirley appears on the platform of a train
or any place, there will be nothing for her
to see but bobbing heads and waving arms
and people fighting to get in the front
line.
I am an ardent Shirley Temple fan,
and I think she is a remarkably intelligent
child. Her appeal lies in her unassuming
charm and sweetness. However, she is
fast reaching the age when all little boys
and girls begin to have definite ideas of
their own and abide by them. Will thou-
sands of people fighting for just a glimpse
of her have no effect on her? Will she
remain unspoiled and oblivious to fame
and fortune? Will this excitement be good
for her health— strange people, strange sur-
roundings, and constant commotion?
If I were Mrs. Temple, I would keep
Shirley in Hollywood, and not take any
chances. .
— Dorothy Kushner, Cleveland, Ohio.
$1.00 Prize Letter
Cheers for R. Bellamy
I wonder why it took the role of a
dumbell in "The Awful Truth" to make
Hollywood re-discover Ralph Bellamy!
Ralph has always been a fine actor. I
remember him first, as the judge in "Young
America," and although the part was small,
he easily stole the picture. Then came
"Rebecca of Sunnybrook Farm," in
{Continued on page 84)
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too, that your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; two
second prizes of $2 each; six
prizes of $1 each. Address:
Between You 'n' Me. 149 Madi-
son Ave., New York. New York.
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17
MODERN SCREEN
FROM GREAT STORIES COME THE GREATEST PICTURES!
. . . and here is the story
the author of "Treasure
Island" always considered
his best! . . . now on the
screen for the first time!
. . . spectacularly produced
by 20th Century. Fox!
Kidnapped
WARNER
FREDDIE
BAXTER • BARTHOLOMEW
in the role you always
wanted him to play
in his first picture since
"Captains Courageous"
ARLEEN WHELAN
the year's emotional discovery in her sensational debut
C. AUBREY SMITH • REGINALD OWEN
JOHN CARRADINE-NIGEL BRUCE-MILES MANDER
RALPH FORBES • H. B. WARNER • ARTHUR HOHL
EE.CLIVE-HALLIWELL HOBBES- MONTAGU LOVE
and a cast of 5,000
Directed by Alfred Werker
director of "The House of Rothschild"
Associate Producer Kenneth Macgowan • Screen Play by
Sonya Levien, Eleanor Harris, Ernest Pascal and Edwin Blimi
A 20th Century-Fox Picture
Darryl F Zanuck In Charge of Production
A NEW TRIUMPH IN BIG-PICTURE ENTERTAINMEnT^
18
r
Here is Sylvlcf
with George Raft
in "You and Me."
She likes George
because he's
natural, but she'd
love to be on. a
set with Spencer
' Trgcyl
SYLVIA SIDNEY didn't look like a movie star. She
had on slacks, not the well-pressed, natty Hollywood
variety, but the kind you wear around the house on a
rainy day when you're sure nobody will come to see
you. They were rumpled and wine-colored, and the navy
blue house-coat-blouse she wore with them was loose and
comfortable looking.
She did not sit like a movie star. She had flung her-
self, utterly relaxed, into an enormous chair, both legs
tossed over its arms.
Her hair had lost its Hollywood set. It was carelessly
pulled back from her ears, and pinned low, any old way,
on her neck. She wore tortoise-shell rimmed eye glasses
which accentuated her little features. And her eyes were
red and swollen.
No, Sylvia Sidney did not look like a movie star. She
looked like a girl, who had been crying all night.
"For twenty-four hours," she admitted.
Hollywood had done this to her, Hollywood that re-
cently criticized Sylvia Sidney for coming out tliere, tak-
ing its money and then rapping the place.
This story is her answer to Hollywood.
"IVhy am I ungrateful ?" she exclaimed, her voice crack-
ing with emotion. "I'll tell you why!
"Here's just one instance. A day last year I had to
work so late that I actually grew weak with fatigue. After
the scene was over I went to get a massage. On the way,
walking up a flight of stairs, I became faint, slipped and
fell smack on my nose. Both my eyes turned black and
blue. Within an hour, I, a ghastly sight, was lying, ter-
rified, in a hospital bed. I did not know whether my face
was ruined for life or whether I'd ever be able to make
another picture !
"I know," she went on, "that through the entire night
Walter Wanger paced the floor. After all, I was an in-
vestment— a. Hollywood investment.
"But I also was a girl," she added, "sick in bed, with
a busted nose and two black eyes, and feeling as lonely
as could be. So lonely and homesick that I telephoujed
every so-called friend I had in Hollywood and asked each
to come to see me. I wanted someone to sympathize, to
hold my hand. But nobody came. Not one of them !"
SHE PAUSED. "There's more, yes, a lot more. I'm in a
jam now — about Hollywood. That's why I've been crying.
"They want me to do a story I don't like. The part
doesn't suit me. I'm not an ingenue. I'm twenty-eight
years old. I'm a woman and I want to act one. They've
got plenty of young girls for the other type of thing.
Anyway, they're insisting I do this picture. So I appealed
to the one person who could have helped me, the one per-
son I had looked upon as a prop. He could have come to
my assistance by just saying a few words, and it meant
no money out of his pocket. But did he ? No. My prop
fell down." She shrugged her shoulders. "A Hollywood
prop.
"They say I grab the money !" She laughed. "Listen, in
my contract I'm supposed to be paid between pictures,
even when I'm not working. I didn't think that was fair
to my employers, so I refused sixteen weeks' salary !
Accused of being ungrateful, of biting
the bund that feeds her, Sylvia Sidney
at lust tells you her side of the story
—and it's certainly enlightening!
NAME¥TE KUTNER
"I'd be much better off if I were contented to be just
a movie actress on the coast. But I love the stage. When
I do a play, even if it's a bad play, I learn so much about
my craft. After every play I'm a better actress. For in-
stance— I take one scene. Each night I try it a different
way with different inflections, a piece of business here or
there, so that I finally arrive at the most telling effect. And
even after a play has closed I think about the scenes and
mentally work on them. I find none of that in pictures.
"When I say these things, Hollywood retaliates. They
' say, 'If you don't like pictures why don't you get out!'
Well, to tell the truth, I can't get out !
"That is because Hollywood is not for me! And
by Hollywood, I mean the money part. As soon as I
began earning that kind of money, those unbelievable
telephone number figures, I appeared outwardly a strong,
self-reliant person. And the weak automatically lean upon
the strong. So, almost immediately, distant relatives, and
aunts and uncles, and friends I hadn't seen in years, de-
manded and needed my help. Why, people with whom
I have barely a nodding acquaintance, think nothing of
stopping me on the street and asking for money.
"And what are you going to do when a friend says
she needs a hundred dollars for her hotel bill? You can't
turn her down — not when you're making Hollywood
money. So I don't. And so, it keeps on and on." Her voice
rose. "Hollywood has. given me so many financial respon-
sibilities that I don't dare leave!
"I don't dare call my soul my pwn. Recently I gave a
party for the benefit of Spain, {Continued on puge 72)
FOR
And so when Cory Grant
WE HAD a whispering interview, Gary Grant and I. An
interview pianissimo. I purled at him. He susurrated at
me. (If you don't know what that means look up the
noun "whisper" in your dictionary. I just did.)
It was like this : Gary and I were on the set of
"Holiday." We repaired to Gary's portable dressing-room.
Now, a portable dressing room, in case you don't know,
is a sort of box-like oasis put up for the convenience of
the stars. And in the portables the stars make changes
of costume, repair their make-up, entertain visiting Elks
and interviewers, take naps, do whatever they feel like
doing between scenes. Now some few portable dressing-
rooms are de luxe, and interior-decorated, and steam
heated, and a' that.
But the majority of stars, especially "the boys," take
their portables as they find them, and the way they find
them is the way I found Gary's. It is a place made of
compo-board, without a roof. This reduces the visibil-
ity, but does nothing about the audibility.
So Gary and I sat in his cracker box and purled. At
least, I sat, gingerly, on tlie edge of my chair. Gary
lounged on the couch. I've never seen a loungier lounger
than Gary. I kind of hate to say that there is something
reminiscent of a panther about Gary, and the way he
relaxes, and the way he springs up and at you, it seems
such a florid way of putting things. But it's the truth.
Now, this whispering interview would have been much
28
i
Doris Nolan found Cory as fatally fascinat-
ing as you will in his new picture, "Holiday."
Gary has definite ideas about feminine allure, and
finds a lot of "what it takes" in Phyllis Brooks.
HE'S /X^e/tUM^ FELLOW
gives you the lowdown on his private life, you can believe every word of it
simpler if Gary had been a dopey guy. But no. I hissed
to Gary, "This is to be about how you are a dopey guy
like in 'Bringing tip Baby.' I thought it would make swell
copy to tell that you are kinda loony, and what kind of
looninesses you do."
"But I'm a serious feller," cooed Gary. "I can't tell
you I send elephants to people for their birthdays. I can't
think of anything dopey I do, like brushing my teeth with
a whisk-broom, and all. You've got the wrong idea
about me." ,
And that ruined everything, and ' ran
into whispers of such long duration as
would bring a political whispering- cam-
paign to an early grave.
"You've got the wrong idea about me,"
Gary went on earnestly. "Because I do
those comedies, you've got the wrong
idea. I mean that comedy is serious business. It's mathe-
matical. It's morbid. Timing comedy is very serious. It
is much more difficult, requires more thought, effort, con-
centration and hard work than any of these 'comedy-
dramadys' where you say, 'Yes, Mrs. Jones ; no, Mrs.
Jones', or die for love with full orchestration.
"Yeah," tinkled Gary in a still, small voice, "you take
me for a loony guy just romping through a picture like
the fun it looks. You don't know the mental anguish, the
silver threads among the black, the furrows on this brow
GLADYS HALL
which precede those romps and antics. Why, it's easier
to die a dozen screen deaths than to get over one good,
well-paced screen laugh. I'm serious about my work,
very. I'm a student when I'm working. I pore over my
scripts. I'm not one of the boys who takes this business
as a racket. I'll bet even Muni doesn't do more research
on his Pasteurs and Zolas than I do when I'm helping to
'Bring Up Baby.' I used to go over my scripts with
Randy Scott. I've got over that now. But I still work
out the character I'm playing the same
as if he were Hamlet. I think about him,
figure out bits of, business for him to do,
try to size up his psychology, and what
his reactions would ,be under different
circumstances. I obserye people in the
hope that I'll catch on to some gesture,
characteristic, or mannerism that might
reasonably belong to the fellow I'm playing.
"When I get all mixed up, too mixed up, I play the
piano — anything from swing music to Ghopin. I play,
and keep on playing. Or I go to the movies. I'm nuts
about the movies. Any picture can make me forget the
dirty dishes in the sink. I've never seen a picture yet
that bored me. Sometimes when I come out of a theatre
and hear people say, 'That was awful, that was this or
that,' I feel like saying, 'I don't agree with vou. And any-
way, what do you expect for (Continued on page 78)
29
THA
a
I
MARGARET SULLA VAN is one of those around
whose name legends have grown.
Unknown to movie audiences, she captured their imag-
ination through her first screen performance in "Only
Yesterday." Not beautiful in the conventional movie
sense, she gave to the role a shining beauty of spirit un-
related to inch-long eyelashes or sphinx-like smiles which
reveal nothing because, like the original sphinx, they have
nothing to reveal.
What Sullavan revealed was a gift for honest acting,
a blend of emotional power and restraint that could move
the heart. The public clamored for more of her.
They didn't get as much as they wanted. Pictures came
few and far between. Publicity items were scarce as hens'
teeth. Therefore, because movie personalities must be sold
on the strength of their individuality as well as of their
pictures, what little was known about her was exagger-
ated. What wasn't known was made up. She became by
reputation another of those stormy petrels who flout the
rules, make faces at teacher and, in a spirit of general
waywardness, raise merry hell.
Like most legends, this one is based on a crumb of fact
and a whipped-up meringue of fancy. The fact is that
Margaret Sullavan thinks for herself and acts for herself.
Black is not black to her because a thousand others see it
that way, if she herself sees it as gray or purple. If she
does see it as gray or purple, it's not through caprice but
through conviction. Sham has no part in her make-up.
Indeed, it's her very scorn of that theatrical commodity
which has done as much as anything to build up the illu-
sion of perversity. Unconventional Hollywood has its
own conventions. You must dress thus-and-so, appear
here and there, maintain such-and-such attitudes toward
such-and-such aspects of life. Your own feelings and
behefs have little to do with it.
Convention makes cowards of most of us. Sullavan
has never let what people think influence her course. Not
because she cultivates defiance, and not because she burns
to blazon new trails either. But because it would make
her acutely miserable to follow any path save the one
that seems marked out for her. That she lacks arrogance
is indicated by her willingness to recognize her mistakes.
What seems right for her today may seem wrong tomor-
row. In that case, she breaks clean and starts over. She
has a directness in speech and action which may discon-
cert those of us who take refuge in social evasions against
the thrust of truth. Honesty with her is not a high moral
resolve. It's something she can't help. If the truth hurts,
it's still the truth and must be faced.
DESPITE this straightforwardness, generally regarded
as an attribute of the male, she seems wholly feminine. I
watched her as she played a scene for "Three Comrades."
In a dark blue ski suit, gay mittens and clumping shoes,
she walked up a snow-crusted path, arms linked through
those of Bob Taylor and Robert Young. Their height
emphasized her littleness. At its softly curling edges, her
fair hair looked as if the sun had been caught in it. ' She
had the air of a child till she Hfted her gray-blue eyes to
Taylor, a hint of gentle mockery veiling their tenderness.
Their feeling was repeated in the sweet huskiness of her
tones. You didn't know what the scene led from or to.
r
BY IDA ZEITLIM
^Margaret SuUavan's back— with
a brand new contract, a good as
new baby, and a will to stay!
but in six light words and a gesture, she'd created
a mood there was no mistaking — that of a woman
deeply cherished and cherishing.
Later she came over and dropped into a high-
backed chair. The woman of the scene you'd just
witnessed was gone. With her feet barely grazing
the floor, her wide-spaced eyes, the silky texture of
her hair, again she suggested the small girl. Nor
was it an impression altogether physical. There
was something in her manner, too — ^among other
things, perhaps, her faculty of withdrawing like a
child into some secret place of the mind, whence
she looks out guardedly on a world that can't al-
ways be trusted.
Once convinced that no harm is pending, she
lowers her guard with disarming humor. "Note
the green sickly pallor," she says, lips buttoned over
a smile that glimmers through, "the ti-embling
hands, the tongue stuck to the roof of the mouth.
All symptoms. Of what? You know. Inter-
viewitis."
Though her tongue be stuck, she manages nicely.
She's not voluble. She (Continued on page 85)
>% MAN
Jimmy Cagney knows what he wants!
What's more, he isn't afraid to tahe it
FOLKS AROUND town were saying, "Well, I guess
Cagney 's happy now," or "Jimmy must be feeling pretty
swell these days," or "Wonder whether Cagney's
changed ?"
The folks had reference to the fact that Jimmy and
his studio have quit "a-feudin'."
There were portents, hummed Hollywood, that Jimmy
has "changed" ; indications that he is happy as, perhaps,
never before. For Jimmy went to the studio party, and
Jimmy never before attended a studio party. He was
greeted by loud salvos of, "Hi, Jimmy," "Hi there, Cag-
ney 1" by everyone on the lot. And what is more re-
markable, Jimmy returned the salvos by calling every one
of the greeters b)' his first name. He hadn't forgotten the
name of a single carpenter, electrician or supervisor.
Then, too, Jimmy is reunited with his "Club" again,
that unofificial but warmly all-for-one-and-one-for-all club
comprised of Irishman Pat O'Brien, Irishman Frank Mc-
Hugh, Irishman Allen Jenkins, Irishman Ralph Bellamy
and Irishman James Cagney. The "boys" are always to-
gether off the lot. Now they are together again on the lot.
And there's always windy weather when these fellers get
together. Tales of their exploits nm around the lot now,
hand in hand with laughter — how Pat and Jimmy, between
scenes of "Boy Meets Girl," would go down to the set of
"Four's a Crowd," where Rosalind Russell was working,
CAROLINE S.HOYT
Jim got his first job on his
nerve, and has been get-
ting things that way ever
since. He believes that if
you scry you can do a
thing, and mean it, you
can't help succeeding.
Jimmy, the boy, meets Marie Jimmy's smart "little woman," "Billie," who
Wilson, the girl, in "Boy Meets knows a thing or three about how to keep
Girl." Result, uproarious comedy. , a husband happy.
and just stand there staring at Roz, never batting an eye- Fact is, Cagney is a man who never changes. He never
lash, never taking their eyes off her face, just stand there reacts violently to anything. He makes no unnecessai-y
staring, staring, until Roz, with a sense of humor as lusty noise. His pet hate is loud voices. His own voice is, as
as theirs, stopped the show by yelling, "I can't do any you know, little more than a whisper. He never gets ex-
good work with these "B" picture actors gawking at me !" cited. H he does, you would never know it. Even his
They tell how Jimmy and Pat took themselves down to horseplay goes softly shod. He does what he wants to do,
the Anton Litvak set of "The Amazing Dr. Clitterhouse," what he believes in doing, and that's that. There is no to-
with scripts of "Qitterhouse" projecting from their pock- do about it. Cotne poverty or riches, success or failure,
ets, and just stood there on the side lines as though pa- ups or downs, Jimmy moves along his quiet, undeviating
tiently awaiting their calls, causing Director Litvak to course, his voice the purr of a jungle cat, his eyes half
question his own sanity. What were they doing there? veiled, half smiling. Not the zephyrs of spring, nor the
Were there two actors in the cast he didn't know about? catastrophic cyclone can ruffle one red hair of his head.
Then they'd romp down to the Busby Berkeley set of
"Gold Diggers in Paris," and ogle the girls, until one day I WAS LATE for our luncheon date. Jimmy is never
the female of the species proved itself more deadly than late for any date. When I entered the commissary, Jimmy
the male, and the girls, dozens and dozens strong (and was seated at a corner table, talking with his brother Bill
beautiful), swarmed. They swarmed around Jimmy and and Dick Powell. Jimmy and Dick were planning a week-
Pat, all but crushing the breath out of them, and the "Gold end on their boats. The discussion was whether they
Diggers in Paris" saw James and Patrick no more. should go on Dick's boat, or on Jimmy's sixty-six- foot
Another day Pat and Ralph Bellamy had time off from schooner, the "Martha," or take both boats and see which
the set of "Boy Meets Girl," and went to the races at one could circle the other, or whatever boats do. There
Santa Anita. It was a five-horse race, and they put their was no argument about whether they should take one
money on four of the horses. And the fifth horse came wife, or both. The answer was neither. Jimmy and Dick
in. Jimmy loves that one. have the sea in common. Mrs. Jimmy and Mrs. Dick
So, time marches on. Jimmy is back on the old home ( Joan Blondell) have sea-sickness, in common. Result, an-
lot, and all is forgiven. Jimmy hasn't changed a bit. cient mariner Cagney and ancient {Continued on page 87)
If this set of studio^ toocers
doesn't save them, it's fare-
well forever!
FIRST AID FOR
IT IS YOU, the public, who make movie stars rise
and fall, and you have a way of doing it with which
they can't argue. A star may think she's still tops-
she's all but mobbed when she appears in public, her
fan mail still comes in in truckloads — but let five little
words be spoken and she knows that you no longer
care, that you're showing it by staying away from her
pictures in droves^
The words? "Poison at the box office." That is
the way Katharine Hepburn learned that you'd turned
thumbs down on her.
Katie was kidding around one day at the studio with
a couple of directors. She said, "I suppose some day
I'll have to be in one of your B pictures."
To which one retorted, "Not if I can help it. You're
poison at the box office."
They're deadly, those box office figures. So are the
film salesmen's reports. Nobody can argue with them.
Maybe the man who runs your theatre tells the sales-
man that he doesn't want to book a certain star's pic-
tures, or perhaps he protested against paying the re-
FIRST AID
VIRGINIA VANCE
quired rental on them. He says they don't do business for
him. In that case perhaps he's checked. If you see a man
in the lobby of a picture theater, with a thing like a stop-
watch in his hand, you may know that he's checking the
number of tickets sold, probably to see if the exhibitor
was justified in complaining. If he was, it's likely to
mean trouble for the star.
Sometimes it's not hard to see why a star falls. With
Katharine Hepburn it may have been all those costume
pictures ; with Marlene Dietrich it probably was her deter-
mination to have von Sternberg direct her, and produce
all those snail-like close-ups. With Constance Bennett it
probably was a feeling that Commodore Vanderbilt was
right when he said, "The public be damned," a saying
which Miss Hepburn also seemed to be trying to live
up to, especially where newspaper reporters were con-
cerned. His studio felt that while Robert Taylor wasn't
"fallen," he might be pushed! That was before he did
"A Yank at Oxford."
When a star falls, or is likely to, there are certain
steps taken almost automatically. If you know that they
are happening to a favorite of yours, you may be sure that
she's not the favorite of many other people. The studio,
in a valiant effort not to lose money on a valuable invest-
ment, is administering tried and true hypodermics.
One first aid treatment is to give the star a different
type of story, with a good director and a bang-up cast
that includes a popular leading man.
Hepburn got "Stage Door." That picture killed two
birds with one stone, for Ginger Rogers had been beg-
ging for pictures that would give her a chance to prove
that she wasn't just Fred Astaire's dancing partner. Too
many people had been calling their joint efforts "the new
Astaire picture" to suit her.
That picture was perfect first aid. A huge price was
paid for the screen rights to a successful stage play, the
story of the play was thrown away, and a good writer
engaged to do a new one, and the whole thing was handed
to a director who had a reputation for turning out hits.
The picture did what was needed. It helped Miss Hep-
burn. It also helped Miss Rogers, as is shown by the
fact that, after he saw it, Fred Astaire sent her a tele-
gram containing just one word, "Ouch !"
BUT THE wayward Katie needed more assistance. So
she was put into a goofy comedy. That's First Aid
Measure Number Two. Ever since "The Thin Man,"
goofy comedies have been sure-fire, though at the moment
their popularity is waning. But nearly all the stars have
been pestering their companies to let them have just one
chance at cock-eyed humor.
Irene Dunne wanted it; she felt that the public was
going to tire of seeing her play nice girls. She'd broken
loose a bit in "Show Boat," when she did that hoydenish
little dance, but she wanted more. She nailed down her
new reputation in "The Awful Truth."
Katharine He^jburn drew "Bringing Up Baby," in
which she fell flat on her face, time after time, for belly
laughs, and got them.
Marlene Dietrich has been (Continued on page 74)
Would you expect dimpled Sonia
to be a business woman? She is!
Before Love did a fade-out, Ty-
fone Power was Sonja's beau.
THOSE RUMORS
Sonja Henie gives the answers to questions
people have hitherto answered for hei
36
Between scenes, Mrs. Henie is right there
to take care of her famous daughter's
every need.
DORA
IF YOU read your fan magazines, you already know
that the Tyrone Power- Son j a Henie romance is colder
than iced tea, and you probably believe that all of Sonja's
incredible triumphs, her fantastically brilliant skating ex-
hibitions, and her amazing success at the box-office have
not compensated her for the loss of Tyrone.
The newspapers and magazines had a Roman holiday
over the death of this romance, and the appearance on
Tyrone's horizon of that red-headed stick of dynamite,
Janet Gaynor.
They said, "Tyrone must have brought their romance
to a close before Sonja was ready. Sonja must still be
carrying a flaming torch for the slim dark boy with the
irresistible eyes."
They said that when Sonja realized her romance with
Tyrone was over, there was a bitter quarrel. "Sonja and
Ty," read the columns, "talked it over, not long ago —
and did they talk. Why, they almost yelled."
But Sonja's answer to all that was just a knowing smile
and a shrug of her pretty shoulders.
Sitting opposite me, curled up like a little girl on a sofa,
she said, "Although I have not seen Tyrone lately, we
are still good friends. The stories that we quarreled are
silly. They are all made up. Tyrone and I never had
any discussion whatsoever about his falling in love with
Janet Gaynor. The idea of my being broken-hearted is
just funny."
Certainly Sonja Henie didn't look broken-hearted as
she sat there, radiating warmth and happiness.
To her Tyrone had been a marvelous friend, a charm-
ing companion, but he was not the great love of a lifetime.
Sonja had realized this from the beginning, so to her
It has been "rumored" that Richard
Greene is Sonja's latest. But, it's only
rumor, y'know.
ALBERT
there never was any question of heart-break. Something
that proves even more surely that Sonja isn't bi^oken-
hearted is the tremendous interest she takes in the effect
of romance on the box-office. If she were really eating
out her heart over Tyrone, she couldn't consider romance
quite so dispassionately.
"You know," she said once, "I do not think that ro-
mances are very good for the box-office, anyway, par-
ticularly romances of long standing. Look how Dick
Powell's box-office rating went down when he married
Joan Blondell. And Robert Taylor, I think, would be
even more popular if he didn't go so steadily with Barbara
Stanwyck. If a man is young, handsome and eligible,
every woman who sees him on the screen thinks that per-
haps she has a chance. But if he becomes engaged, she
may lose interest, because she knows she can't have him.
If I were to get married tomorrow, my lx>x office would
drop right away."
Would that stop Sonja Henie from getting married, if
she fell in love?
"No," she said, "but I will not get married for at least
a couple of years. I have too much skating to do."
"Someone told me." I ventured, "that the man who
really has the inside track to your heart is a Norwegian
named Carl Carlson."
This time Sonja exploded in a merry peal of laughter.
"That is so funny," she said. "There isn't a thing to it.
He was once my secretary. That is all. No one has the
inside track to my heart. Cesar Romero? No. There is
nothing to that story."
"Why not? He is young, handsome and romantic."
"Of course he is, and that (Continued on page 90)
37
DON AMtCHt *
is tbe K«oB toi Bon
Has he
tested and proven %
01
is it a btind fttasion?
„ in the begto-
Dcn never even >n u
"'wal^ood. He found
SimoneStaonmceJ^^/Don
A^^^ls", look wotned.
^^uc aisfflusioned? . Hliwwood, has
IS DON AMJ^^!'Ly three years H<J^a,? Has
on the air, "^'gs received a coW F eyes,
tte' warm heart M.h .efleeted »^ht^ ^„ V,earten-
irrhSrti^g-r^-fe^^^ <riend
J^^ Doing as much or^ -PP'^u; Ho«y«ood?
The answer ^ Don ^^f^^'^ L chimtiey,
r^.ts;iSs5u-ri«?<-d^>:nS
and hopesJJ^'Sdness of n>»*S« hie to come. Be
iundamental goo ,^iieves in »e
lieves in God. ana .jj^,,„e it i „ ,i„es that
Ld to me "I . 4oing nnto o*'=.?;i„„ Men Ito
^ He helieves m "'"''ikd " the saver of
rtefm^'^S Semii^U t^aSr^fories
^:S^rJ? men who w-U " erm, try.n|» *-pri,,ts
Through, trymg o ^„ incuraWe d „an^
serum which w'" ^v,„ are workmg ,„ al\
^,'SS!»heves,arethefiav>
^^^^^^^^ c ^<nd the
^ „,en with vocations, and
^„ ao how are y ^ ^ant cau
fjr: Ind on the air? Vo
voStionr ,viis astom*««X":U to te'
ao'nlht'th^n I ^^ew tha he^ , „esti,^^-S
me something » ..at ^^X" of
a "voSS te V-ljr cahed a Wt o^
Vn"C'>^^='"- °'orSl » -sion, a gf*-
thmgs, t"^^, . a iorm ot seii ^^ches.
^S''or«::^t. -rrd ever'h-* spoUen of
FtSras^-ftohein^ctur.
ai:^'^rdisfSi--^^^^^^
I ckn think of half a do hard don^ jways
1 ; ,asier on me. ' "? „er»ous work. » . ^jatae
'SlTou different- U « We ourselvj ^n ^^^^
at high emotional tens^ ; we crac'. J^^
l%^'::;dS'-^-i^:i:g^Thai^^^^^^
^:HUS'o\*-:g:.r4ht,andai^^^^^^^^^^
1 can't relax, ^^^^^^^^
Wjll Kay's new-found love and leisure
make up for glamor and glory, and the
satisfaction of personal success?
KAY FRANCIS is saying goodbye !
To put it bluntly, Kay Francis is retiring from the
screen. Yes, it's true. She says so. And if there's one
outstanding characteristic about Kay it's her sincerity.
There's a sort of terrible, uncompromising honesty in
everything she says. You always know she means it.
"In September," sighed Kay, ecstatically, ''in September
of this year, 1938, my contract with pictures is up, and I
am retiring from the screen, grateful for many kindnesses,
appreciative, and all that. But, barring an Act of God,
my retirement will be permanent. I'm through. I'm
getting out. It's over. And I can hardly wait for
September !"
Can you believe it ! It sounds incredible. It's easy to
understand a star's ecstacy over the approach of so ro-
mantic and important a marriage as Kay is going to make
in September. Who wouldn't be ecstatic about marrying
a gentleman named Baron Raven Eric Angus Barnekow?
But, can it be possible that Kay will ne;yer make another
picture? Not even after the honeymoon?
"No, there will not even be any 'in between pictures,' "
said Kay Francis, "not after September." She will leave
the screen, she will be a star no longer.^ Kay will be
ecstatic, because stardom has meant more than a little
martyrdom for her, believe it or not.
Kay won't talk much about her Eric (who will be her
fifth husband, her first two marriages having occurred
before she was twenty-one). Having to discuss her per-
40
sonal affairs is one of the things she most detests about
the status of stardom. And oh, how she does detest star-
dom ! Being expected to expose to the public gaze her
secret heart and the hearts of those nearest and dearest
to her is just too much.
Kay did say, however, that she will be married some-
time within the year. Just when, she couldn't tell, because
she doesn't know. They will make their home in Holly-
wood for six months of the year (the Baron has a plant
here for the manufacture of aeroplanes), and they will
travel the other six months. Kay loves travelling more
than anything in the world. You never meet her that
she isn't planning "my next trip." When they are in
Hollywood, she and the Baron will live in her new home
in Cold Water Canyon. The Baron, who is half Scottish
and half German, has several homes on the continent, and
they will visit his homes when they are abroad.
This much she would tell, and no more, except what
one could guess by that glow in her eyes which is there
only when a woman is richly happy, in every way content.
"Barring an Act of God," Kay repeated vigorously,
"I will never be 'in pictures' again, and I can't wait to
be finished. I can't wait to be forgotten."
Did you ever think you'd live to see the day wheil a star
would say, "I can't wait to be forgotten" — and mean it?
"It's stupid to make prophesies," said Kay, "even about
one's self. And I'm not making prophesies. I won't say
that if, now and again, a specially interesting picture
Meet Baron Raven Erik Angus Bornekow,
who wants to be called plain "Mister." He's
to be Kay's fifth.
Kay and Pat O'Brien look very much "that
way" in "Women Are Like That," but it's for
professional purposes!
should come up, I wouldn't do it, if I were asked. I might.
But I wouldn't care about being the star. I should prefer
not to be the star. I wouldn't care if I had only one
scene to do, so long as I liked the story, and the character.
But that is problematical. And never again, so long as I
live, shall I sign a long-term contract anywhere, for any
reason.
"It is not entirely because I'm getting married," said
Kay. "It's a combination of every-
thing. Eric dislikes the publicity at-
tached to my work as much as I do,
understands it even less than I do,
never having experienced anything of
the sort. But I disliked it intensely
many years before I ever even met him.
There's too much
I NEVER wanted to be a star," Kay
went on, "I have loathed being a star,
heartbreak to it. There's too much strain, too much pub-
licity, which means too little privacy, too much of every-
thing I detest, and far too little of everything I value.
Naturally, I didn't anticipate all this before I got into it.
"The money has been nice," said Kay, honestly, "that
has been the compensation. But I have invested my
money, saved it, taken care of it. I don't need any more.
There is no necessity to keep on just for the sake of
making more.
"There is too much responsibility attached to being
a star. If a picture is bad, every one blames the star.
They rarely blame the producer, the director, the scenarist,
the cameraman, or the rest of the cast. It is always the
star who has failed, the star who is 'slipping.' And when
a million dollar production is involved, that is quite a
responsibility.
"Non-stars have a much better time of it. Take any
well-known character actor. He has a wonderful life.
He can have several weeks, even
months, of? between productions to
travel and vacation. He adds immea-
surably to any picture he is in, yet if
the picture flops no one blames him.
Such men are David Niven, for in-
■r/klTU 5FI^\/I^E Frank Morgan, and Alan
Mowbray. That's the way to enjoy
being in pictures. Those who strive
for stardom know not what they do.
"I loathe the business of stardom. 1 hate planned in-
terviews. I hate being 'snapped' when I'm walking down
the street. I hate being stared at when I go to lunch with
my friends. I hate taking stills. I hate being mobbed when
I go to have my hair done. The old simile about a star's
life being comparable to a gold fish in a glass bowl is true.
"The rabid pursuit of stars amounts to persecution.
One time on my way to New York, when we stopped in
Chicago, 1 stayed in my drawing-room in lounging
pajamas, a net on my hair, cold (Continued on page 92)
41
Ginger Rogers
"works out" re-
ligiously and
look at the fine
results. Jean
Parker's another
example of
streamlined per-
fection through
t^C|%vie IT
OUT THIS WAY
The stars tell you bow to do
your own individual streamlining
Danielle Darxieux's
beautiful legs and
fetching figure are
limbered up daily
with her own spe-
cial routines.
MARY MARSHALL
ON THE back of an old shopping list, there are jotted
down some notes which nobody could possibly read but
myself, and if I leave them till they get cold, I'll not be
able to read them either. These notes add up to around
two dozen grand exercises, diet hints and def ect-disguisers,
each one designed to keep American female figures at a
streamlined par. Since I don't own the magazine and
can't have the whole book to myself, I want to get down
to business pretty quickly, and pack as much information
as possible into this article.
Let me remind you of some fundamental truths. 1 :
You diet to lose weight generally, if you're heavy all
over. You exercise to lose weight in spots, and to improve
the grace, balance and suppleness of your body. Don't
ever again be caught saying, "The minute I diet, my face
and neck get thin, and I never lose off my hips, where I
want to." If you're hippy, bulgy or minus a waistline (so
necessary this year with the fitted styles ! ) you should
merely eat sensibly and exercise earnestly and faithfully.
If you are really obese, please, please see a physician
before you attempt any sort of diet or exercise at all.
There may be a glandular disturbance which only a doctor
can correct. But you others — the "just plump" folks —
you can get thin all right if you use your common sense
and your will power.
2 : Trick diets and eating stunts are out. They're dan-
gerous, stupid, and as passee as having the vapours. Every
diet should include fruit, vegetables, lean meat^ eggs, fish,
skim milk or buttermilk, a little butter, a very little sugar,
and some bread. You can count calories if you want to.
Twelve to fifteen hundred a day are the least even the
fattest wench should have, unless otherwise advised by
a doctor. Personally, I have little patience with calorie-
counting. I think anybody with the sense God gave geese
ought to be able to stick to medium portions, single help-
ings, and a balance of the sensible foods given above.
But there are plenty of calorie charts available, so go
ahead and count if you want to.
3 : It is harder, generally, to gain than to lose. Skinny
girls are often highly nervous, and do not assimilate food
properly, or they have bird-like appetites (in which case,
try the system of eating little and often). Or they eat
all the wrong things. Thin girls who have tried to gain
and cannot should up and away to a medico. Don't think,
because you're thin, that you can go in heavily for sweets,
if you happen to like them. Sugar satisfies hunger too
quickly, fills you up as a gooey sandwich or dessert does,
leaving you unsatisfied an hour or two later. Sweets and
rich starches dull the appetite for more desirable foods.
If you're thin and generally healthy, you need exercises,
too — for relaxation, mostly, and a few of these are given
below.
4 : , Everybody who isn't sick abed needs to exercise
regularly. And outdoor sports, swell as they are, don't
quite fill the bill. You need formal, corrective exercises.
But I do not mean strenuous exercises. Start as easy as
you like, two or three minutes at a time, if you're quite
plump, arid have neglected physical exercise for some
time. Work up gradually from that modest beginning.
Don't bundle up, either, and try to sweat off weight. That
doesn't do any good. You lose some weight in water,
via the perspiration route, but you put it right back on
again with the next beverage you drink. The secret of
streamlining your body through exercise is faithfulness,
perseverance, and doing exercises correctly and not slop-
pily. And— here you must use your own head — pick out
exercises which will cure your figure faults. Frixample:
many a bulging tummy is due to poor muscles, not actual
fat. Firm those muscles, and don't give up foods which
your body needs, nor bounce (Continued on page 96)
iy MARTHA KERR
I LIKE women who are well-dressed, have beautiful and moved, feeling as though they had really watched
complexions and plenty of liealth and vitality," said a great disaster. And on that day a new star was born,
Jon Hall. "I hate infidelity in women, and I don't like Jon Hall.
women who argue or try to make you spend more than Sitting opposite, I stared at him. His physique is
you can afford. The women I go out with understand magnificent. The chair in which he sat seemed almost
that I can spend only about twenty-five dollars a week too small to hold him. Whether he is sitting or stand-
for entertainment. U a girl insists on going to some ing, he towers. His light brown hair is slightly wavy,
e-xpensive, elaborate place, I simply say, 'I'm terribly the lines of his face are strong, almost rugged, and his
sorry, but I can't afford to go there. I'm afraid I won't chin, his grayish-blue dreamer's eyes and his well-
be able to take you. And I won't argue with anyone, chiseled features tell you that he has a proud heredity,
man or woman. I nfever have and I never will." His paternal grandfather. Captain Charles Chapman
"You mean you don't even argue with producers?" of New England, sailed the seven seas until he reached
I asked. harbor of Papeete, then settled there to live. His
"No,'' said Jon Hall. "That's why I pay a manager, great-grandmother was Levina, a woman who was al-
so he can do my fighting for me, if it's necessary. When most a legend of the South Seas, famed for her beauty,
I made 'Hurricane,' I didn't have a manager, and I did kindness and her wonderful gifts as a hostess. His
a lot of things I shouldn't have. I lost thirty pounds mother is one-fourth Tahitian, his father is Swiss. In
making that picture. . I did all the diving myself, except his own day Jon's father was quite an athlete, so he
the dive from the cliff, for which a double was used, taught Jon (real name is Charlie Locher) to love the
And for one whole morning and afternoon I was horse- outdoors, and to swim almost as soon as he could walk,
whipped." Jon laughed. "It was all worth while,
though, every bit of it. I was lucky to get a role like WHEN a man like Jon, handsome, athletic and an
that one in 'Hurricane.' " excellent dancer, hits Hollywood, the reverberations can
The day he was chosen for the role of Terangi stands be heard all over the continent. You have heard Holly-
out as the high point in Jon Hall's life. That and the wood characterized as the city of lonely women, and
day he took his father, mother and sister to the premiere that is quite true. It is a city swarming with women,
of "Hurricane," a premiere that was to make movie his- where every man becomes legitimate prey for the Dianas
tory in a town where all openings are spectacular. All of the screen. Naturally, Jon Hall was soon in great
night, lights flashed across the sky, and Hawaiian bands demand at parties and social functions. A little bewil-
played till dawn, while ten thousand fans in the grand- dered by all this adulation, he was fortunate and grateful
stands watched a hurricane so real they were shaken to be given the friendship of a (Continued on page 99)
45
l,,ckv lass who
-t ranie to the .-(^Uy at tUe " ^^uiam
' ™pnt store for , carefree 5" p
happens o be the late .Before
'r^^^dU to%- ^diately became 5"tto«nto«»
tfb:Ss\xjor;^Sf9-nr^^^^^
»*"jirs^^ te<' '''5S lhe cajoled the rnas^«
liuh Harry ^^"*'S-t"cent Lope^- ^.'S Deir>psey
tention to tv ^^^^.ggled i,^"
clotbes. as sue
, coa( dust out of, J j^nes
, T^mN'T , HoUy""" •. that lucky
sn'^rifauA ^'"fTb^V ^ like bell !ov
ka^%„„SuV%Se':rtSJ.--
He pto» t"day .^be Fltelly;
"S'»''= fasS me n*vesonmel»'°fi,*'blug
lera^i J:\^inni-
rJ?;£.uce tbe. -M„;j^
"■s^r: matter^:.! -:"be^4-
"''"'^rand see W» efV bogs^ #
"You've l««*,flovcs gett-ug h« so
jSt to bnng *e ^ ^ * ^^^^^ Smw ^
matter otf»„ i.auWy ^ i '"^^h f-i"'"""
nicture, )" ^^ij meant >,
'5„s,>ension. ^,
ANN
WILLS
Ask any Hollywood star what her fa-
vorite outdoor sport is, and nine times out
of ten, the emphatic answer will be,
"Swimming!" Very often, it's the only
sport she's able to fit into her busy day,
for if she's working on a picture, she'll
just have time for a quick plunge into
her private pool or into the ocean in front
of her cottage at Malibu. Many of the
stars, as you know, find swimming the
best and most pleasant exercise for relax-
ing taut nerves and for keeping the trim
figures you admire on the screen.
Swimming days for all of us are just
ahead, vacations are in the offing, and
aren't we glad ! Seems as though it's been
an awfully long time arriving, but sum-
mer, sweet summer, is here at last, of-
ficially opened by a nice long Memorial
Day week-end to give us a taste of the
fun that lies before us. Summer, the
season of the year when swimming heads
everyone's sports list and your bathing
suit is your favorite costume, which you
don at every opportunity!
Seashore, mountain lake, outdoor pool,
or ye olde swimmin' hole — all are calling
you to dive into their cool blue waters, to
exercise winter-softened muscles by vig-
orous swimming, to stretch yourself out
on their shores and soak up the health-
giving rays of the warm summer sim,
breathe the good fresh air, and acquire a
gorgeous tan on as much of you as
possible !
Perhaps you career gals have already
made plans for spending the precious
weeks of your summer vacation. Or, if
you're lucky enough to be in school still,
you'i'e looking forward to those glori-*
48
Rochelle Hudson chooses Cherie, And petite Dixie Dunbar plans to do While the choice of Eadie Adams
smooth fitting because it's made of some serious swimming in the Vee is a conservative skirted suit by
Jcmtzen's Wisp-o-weight. Tuck, also by Jantzen. B. V. D. in dusty pink wool.
ous months of summer freedom. But,
whoever you are, whatever your plans
— well, if I could find any takers, I'd
put my hard-earned shekels on a sure
thing — I'll bet that you're in the mar-
ket for a new bathing- suit ! And if
j you're not, if you had thought you'd
make last year's model do, you'll
change your mind in a jiflfy when you
see the entrancing new designs being
offered you for summer, 1938. Flat-
tering new necklines with easily ad-
justable shoulder-strap arrangements
that look tricky, but aren't ; bright
new California hand -blocked prints ;
j beautiful new beach colors that blend
perfectly with the seascape — reces-
sion or no recession, you cannot
resist 'em!
I Hollywood, of course, swims all
year 'round and, consequently, Hol-
lywood demands the best in swim
suits, the most practical and "swim-
able," and at the same time, the
smartest. So, if you're the least bit
particular about what kind of bath-
ing suit you're going to select for
this season, you can't go wrong if
you make your choice from the ones
tlaat Hollywood lias accepted whole-
heartedly, can you ? And you'd better
be particular, for if anything must
fit perfectl}', be worn easily and non-
chalantly, it's certainly your bathing
suit. I'm sure you'll agree on that !
The suits you see above are made
by three manufacturers who've all
been making bathing suits for years
and years, each year reaching a new
high in j>erfection of fabric, fit and
weave. Each season's models have
been styled in tune with the latest
fashion mood. With these years of
experience behind them, it's only
natural that, for ease of fit, for com-
fort, for sheer beauty of line, design
and color, this season's ciop will be
hard to beat.
Those two up-and-coming young
stars, Priscilla Lane and Wayne
Morris, are seen everywhere .to-
gether these days. They're together
so much that now they've even
started dressing alike in "twin"
fashions! For the beach, Wayne
wears printed satin lastex swimming
trunks that exactly match Priscilla's
smooth satin lastex maillot. The
seams of all these satin lastex suits
are sewed (Continued on page 105)
49
6AL
IN TOWM
THERE ARE a lot of funny people in Hollywood, but Marie
Wilson is the funniest of them all.
Noah Webster described her exactly when he wrote that to be
funny is to be "laughable, especially from absurdity or oddness."
That's Marie all over. Ever since she was a child, Marie has
always been funny, but her funniness has been tangled up with
purpose and endeavor. As a youngster she was continually up
to delightfully mad pranks. Only they weren't pranks to Marie.
They were deadly serious episodes.
Her mother tells a rare one. When she was ten years old,
Marie decided definitely to become an actress. In order to
develop and practise her art, she felt the need of audience
appreciation. So she organized a little theatre in the neighbor-
hood. They were a lackadaisical group, however. Nobody but
Marie had any deep interest in the Thespian art.
She fixed up drapes and settings, and coaxed her little friends
to come and watch her emote, but they were hopelessly bored.
Always, she found that her audience slipped quietly out, before
she reached the climax of her act. She tried emoting before
empty chairs, but that took something away from her per-
forma;nce. After all, it didn't make a bit of difference to the
chairs, whether she emoted with feeling or not.
Finally, she took desperate steps. She was a good little cook.
She could make frothy puddings and dainty little cookies. So
she bribed her audience! If they (Continued on page 103)
Marie cmd Nick Grinde, who Icaighed the first
time he saw Marie, but later learned to love her.
50
And the fmmi^t port of it
is that Marie VTOsim does
not wont to be
^MARY Sfl
THE DAILY
While the rest of us bend
Some meanies said that Betty
Grable married Jackie Coogan
for his money, and ore their
faces red now! The beautiful
Betty loves to work — and by all
the current news reports it
looks as though she'll have to!
and stretch and roll to keep in
52
!
trim, BeL
I
Scoop 1 Son j a
Henie, Richard
Greene, Ilona
Massey, Vic Or-
satti, Alice Faye
cmd Tony Martin.
Eleonore Whitney took a.
dare and stole the show,
right under Jumbo's nose.
Tch,
may be only forty rooms, but still it's borne to tbem!
ee«#4
f
This quaint English cottage, upper left, is Bette Davis'
rest-haven. Nature has been allowed to landscape in
her own charming fashion. The "Nelson" mailbox, in
case you're wondering, belongs to Bette's husband.
From his hill-top "nest," lower left, Warner Baxter's
view extends from the Sierra Nevadas to the Pacific
Ocean. At night, his terraced garden with its waterfall
is lighted by the spotlight you'll find under the eave.
(Upper right) Would you want anything more grand
than Paul Muni's choice? Its refreshing Spanish style
and large swimming pool make it a cool refuge for a
tired actor on hot California days. We like it, Mr. Muni I
(Lower right) Peaked gables, shuttered windows and
wide expanse of green lawn make the spot where Dick
Powell spends his leisure hours elegant in its simplicity.
Such surroundings would inspire any crooner, we think!
57
GRIND
AlasI Even a glamor gal
like Olivia De Havillaiid
must live by the clock
1 1
Between scenes of "Three
Comrades," Bob Taylor
does a little caforting
"Well, then, let's see
you, Doug," says Anita
Louise, and Douglass
Montgomery has to do
or sink.
Vacation's here, so
park your books and
typewriters and step
out with the stars
61
BY UO TOWNSENO
Bob ^omS,^^jff^^^ side-
^hile he ^^l^^'^^^d^his stand-in
Mr Y "In this picture I
says Mr. " j.^^
died two weeks ago.
working my ^^ead off ,^ 3^? j^.
though nothing happen
cidentally, Bob IS a bit
He says he P^ayeQ ..Toy
ing typed.
the last minute ««J °* J.^^, but
si'b understood she ,
^tmous. Sothejxessm. -m^^
^''^ K BoSer -d Miss
dence oi '''"f ^"^^^ elsewhere.
SuUavan l***!^ ^'''^,0^8 Peggy
""''r^'cild ter haiSTesser. who
^J^wrtStanClow until lean's
death.
A-^.^°no^^%^nd'"sh^y
is planning to seno
Temple to New York to ^.^^
the Premiere of L^tU^^^,.
Broadway, ^he fuss about
;the middle of aUJhe ^.^
the poss ble^np.
teacher said, Won
Shirley, to see your 1 ^.^^
New York? ^es b ^
T complacently. «
Mickey Mouse.
. .1. Nine more to gO'
looth. «ine
she'll be a woman. Weu. P
Ucally.
At Haooened in Hollywood:
^^^^
'''irrdiaSgue furnished scene
Kv scene by a writer who works
the set While the cameras
^^trnfng, the wrjer - trying
to think up an ending tor
Goodman." You will, huh?
•shirleY Temple data:
More Shirley
For a young lady ^^^.^j^gi^
"^'if^'. Ihich probably accounts
modest. ^^'^Y^ still un-
•°^w st seldom looks in the
spoiled. &ne sei . _u even
mirror to '^^-^^^^.^V^fn those
when %v;e Uy^^esses. (Her
•■Shirley J^^P*!^ ^ on Shirley,
"'t 1! TmotlVolsn't become
"'«-^^^hope^^c:n-
-i -^3^-°^
=; rlure. She'd
and Games DepU .^-
r r£"**Sie*'oth:; da.. lor^
Bhnd Mice j
f-^Tc^'dS usTsUpoI paper
thmgs. handea us « ..
ior us. It's "one word. ^
m
TTiochl If you want to know
forma 9"^";^rkin<- on a new
Evans is rf'^^^^fied the Big
dance to be calieo^
ways lookfng ahead
you-always ^^^n
Sng o? our Charleston,
ougS fo feel pretty silly.
Does anyone know that
Treacher had to leave H<Jlyw^
on account ol a wo»" .^oroan
'•^'^^'Ta^ew Hollywood
she's a dog- A dog to
"STh'e%iet-lesssomeon^^
walK ine = i;Heen is on the
ov« '^^r ?^:,''a tasK Arthur
other end Mjgs Hannah
bought a le^^l*',^^*- to do with
dog's liie is her own.
^ • Ttr^v What leading
Question Jo'^ ^ ^^"^ director,
lady, now marriea 10 a
ent picture.
all intoations, it's sBU
heSrc^d flowers with TTrone
itwer^dlonet Ga^-
was servov.. , ^itb
under L— ior
The neighboring «unities
evidently believe everything tl^y
h^ar about Holly wood A ^ase
w L S right. Hugh was
would be an rig the
too surprised to answej s^^^^
voice said, ^eii, w
^S^^'^^H^rbSwenttothe
^fanrs£f\-^^^^^^^^
:?eU"'aP carback with a
thousand dollars.
^^"^'UdTreenHoC^
and Santa Hamburgers
^'"•hi:srcra"e'»^'-V
^:y%o he'^dn't reco^«J5^
who came in wi"»
""""^X compSon and ord«ed
a girl <'<'"'P*~* . ^biU. When
hamburgers «^ chi
they «»=^tlkt\^they would
they were broke, dw i
-"^'^^el^nndoUarsar-
later a .«*efl^ tor ^ „ep-
«^lJin^feven know who
bum. He di«tat eve ^
she r^l'^and J^en then he
tt.e b«'*'.J'~xhe moral ol this
wasn't excited. peaceh.1
is that life can be very pe
5 ^on make it that way.
A^^^^^^Taer'^h'aTerSi
SeS^Kose^ic^.
£uSt»rativ^^-^^^
its of their Pjolf^rSedMlx
was lecturing Maxie o
of being , a tatne . ^
SSnTlV'daTniost coavinced.
F _ „ .-cent Monday morning,
- On a _ W one ol
Bob Montgomerr had^
aiose scenes be a ^^^^
'^^VeSwS" and
■was Tfeuowjaww, ^
^^Tshed to the studj- He
^as supposed ^/ ^a v.itb
hospital w«d 'n^J Stone
beauBiuWY- ^
called ^^l?'™"?^^ emote for a
ter watching them en ^.^^
whUe we seamed tW^^^^^
and found it jnost ^^^^^^
In addition to ^he sx -
are such f "^f.^^^'ng Star and
^^r^; Cod? Hiya, Iron
Iron Eyes ^-oay-
Eyes !
The romantic i^^^^.^^t
„,onth ■^-'^y^^J^r loon has
^6. Conrad NageL^ ' ^^^^
"^"ontl^aS^ P-^^'^
she's P»«^^, *Li her leading
Mnddled Deal, Jf'^ho ad-
«.an.ahandsome^^ap^^^^
nuts to bemg I»*!^ff^ble interest
nersoSors.*^-:
-raldisawe^."--*^
sidelines, «Portedly U, s
flie romancing sticks to w
W^'^^ '?ftdv"lnd mS of
Westerns lately, ana ,^
them are ^^^^ V ^^fl^hey have
""^Ih sS^nd umieces-
too much St Itea instance,
sary dialogue, ^or ^^^^j,
there's no need for a
hero, to an"°""^^'" before he
Se fair b^uty in hjs
^""^^ Rack in the good old
meant. ^
Visited the "Hold That Ktas^
se^'^^d watched Mojue^^^^^^^^
"'*"'^i^noe2Sp«-^"-^*
pony irymq '1? weren't gomg
chopsticks. """"^'^ jo^h or
so weU. and -"f^fj^;,, Mau-
lihh «°suc"Bshil attemp -
reen P«t ^own her chop j
and sadly ««««'«"J;eed sultl';
wish 1 had worn my twee
T • . ^tainer goes glamorous
WUe " her latest pic-
at Metro.
©
^^-^-^Teitir'Tw'^m
Jk? Uoduction.
«^ ^k a sun bath on
U seems wheneirer
a recent SunfT^'^^^g ^^^^ g^ts
she sws ° w So Monday
oi "^^ported to work,
mommg J^fho. &e electnc-
aud discovered clothes
ityinherbodyrnodeh ^^^^^^^
cung to ^et. a ^he Hays
with perd, "^^f^^i another,
office and one &m^ «»^ ^^^dje.
Everyone went » ^
and someone sa^ ^^^^i^g.
slip non-conductor,
since cotton 7'«f J' ° one up,
» look ^^-^^^IZ ^ hardly
because ^'*^d this sea-
the rage ^ on a ward-
day lor «he studio.
@'
• a Successful Mar-
.^'%irs of course, you've
nage: J^'^f' -"i i{ you've ac-
that then, if y<f
comphshed that
have what toke', j ^^^^
^ ^ feroy Prinz Girls,
go, with the Leroy ^^^^^
to London, wnere y ^^^^
^ '^oufe Of ?be two
Chester House. ^^o
dozen girls weji^
years ago, know ^^^^^
^^°rnuittSSng ge"^-
report, quite cn ^he
"^^'1 ? Uei^itenant com-
, bride of a navai
mander, an^ «thers^ automobile
ried the head of an
firm, an airpl^ne m ^^^,^^1
the manager of a Wg „t. The
agency, ^nd a GrceK
Greek count isnt he^^^ ^^.^^on
thing, but he nas
dollars.
Bichard. a wardrobe
Victoria »i'=*'°, v., eighteen-
woman, KoT, ^ the
year-old ^auqWer, "wy ^
studio ior ^as excited,
weeks ago. ^^en a
because she bad ^^^^
studio or met^ Mary Magu«e,
one she met ww ^y
and next day shej^as
SO no^ 'he's Mary
Ctue's%and-in.
, weekly During that period
lars weekly. ^ j^^j. ^hicn
he wrote one song^ ^^.ig^ed
he was "7" ^'two weeks be-
to do another. 1 ^^p^^e,
lore the contract w ^
knowing his option ^^^^
taken up, b^ ^"^^rope. After
and sailed io'" ^^^turned and
six mo"^^"',, his old studio to
dropped m at his o y
3ay hello to friends.
he bumped into wa^^^
cashier, w^^!^''' one-thousand-
got twenty4°";Xg io^y^li
dollar checks w ^^^^
over in my omce. ^
you ever drop by, or
song ^^"{l"So didn't even
Seems the stumo ^ ^^^^^
miss the guy^ ^paid him one
his option and pa ^^^^
thousand dollars
staying m Europe.
•
B«se Lee. who insists
Gypsy r unvick. owns
-?air^orit^-,-2:>-
-^riet w^eSSs touriag
spend her _^ ^ ghe vis»»ed
Cahionua. Hewn y.^ ^^^^
"^"""i ^w Serior decorating
discuss a f " ,,udering home,
scheme ior be* won ^^^^
"^-^d^^askld «ie gentleman
in Bund? "It's not a
''-^^^^ * dS H.. "it's ior my
rooW'.sai,dM«^« .. ^^.unced
. "we do not service
the gent, we
troilers."
@
Virgi- .^^td fie'proba'S;
land recently, to do
had a bit ot evp' ^ i,ed
when the eustomS gr"o^, of
through ber luggage. ^^^^
her bags /ontamea
grinder and a Pf ^^^hese items,
Lated) hot dogs^^ ^^%erican.
she says, are stnctij ^^^^
and she's goi"g "'xhe meat
amaze her i^ieij^^-.e wonder-
Et/'for making hamburgers.
®
"-'•''•rVh^h i°sn't%«t:
ot HoUywood^-\', ^^g
pubUc«ed. D«mg
of "Alexander s na^ p„p
A,t Warck. head o ^^^^^^
'"*''r ld1uW«- cost
a widow and s« ^^^^
and crew got earnings
agreed to put aU tne
WHbanthetalkofec^^^^^^^^
^^msong'i^te^atama-
cerning a song ^ ^
last minute chat-
tel about the stars
brought to you by
QUI teportci
63
Ozzie Nelson, Bob Hope^
Ken Murray and Edgar
Be?gen hold that notel
i„, Sundays and overtime into a
£Ld Xn the picture was
Shed^T had enough mone^
to build and furnish a home lor
the Warck iomilY-
Overheard on the Boi^evard :
.<i°understand Nelson Eddy^-
;U heTnowr "Probably
keSng two towns ahead of
'Girl of the Golden West
St blame us-we're only tell-
ing you what we heard.
They're boasting three beaj^
«es >« ^-'^'eSree «e
Womans Ule. "e w.^
KW Francis, Anita Louise and
B^ta Granville. little WEss
S'roi^e is actually developmg
^to a very at^^**^* J/*,"^
tady. For prooi. you ""^^
iiie oi lackie Cooper, who has
St giHed her wi& a botUe oi
"Moment Supreme.
Notice is hereby given that
the Bartholomew Prmting
Company, of this aty ^as -s-
nended operations. Mr. rreu
Bartholomew, its Prop"etor
and sole owner, had set up h s
own printing establishment in
the basement o his home and
had solicited quite a bit of bus
ness from friends and acquaint-
ances When his aunt dis-
covered he had received Pay--
ment in advance foT all
orders, the president of the
concern was forced to shut down
and return all the cash to his,
clients.
Doruelle Darriei« is Ptob^lY
the most popular foreign odr^
ever to hit HoUywood. On toe
sit of "Rage of rf^e ex-
their dough.
On the "Letter of Introduc-
tion" set we heard a b.t of^^a
S%o^rMr.^cSie^M^^^^
earthy The scene is a room
^^""a boarding house and
Andfea has just returned from
her first interview with a Dig
nrLiucer noted for his amorous
SSSes. She has just told
Ter friends that shg landed a
i°^H?\sr-Ed£rnergl.
.•No" says Andr^. , 'W^^^^f^
wouldn't harm a flea. We"^
savs Charlie, "it's mce to know
hf draws the line somewhere.
There's a splintering Ktort!
Arthur melon is a P'f «f Jf«
thesedays. He's Arleen's father,
men s^ barber shop man.
^.-wos "discovered he
was an electrician: worked lor a
Tompany which
^rhryate'di'tosf^
Srw«kWyha.beenpu^^
hte daughter's name upm lights,
ateng^th Warner Baxters, for
"Kidnapped."
Ti,» nfvt oicture starring those
S.S'&j»s,.he D,„n=
Quints, will .be '^j^ „oduc-
Kind " which IS now in prp^V^
t^«Ma Young's sixteen-miUl
J^c^er^Tas lust completed
a s«c^ly home producUon which
!r^':,mf rutth"
^SanSatherPr.Bohe^^^^^^
of Seattle, visited in "oU^o
He of course, played the tirsi
"e;eration in the film. The sup-
64
included Loretta's
porting ""^uy Blane and
mother. 8«ter SallT »
daughter Gretchen 'osier,
PoUy Ann Young „, *1
He^mcT^ and Lorett^s adopted
daughter, two-year-old Judy.
Q
For the most breath-taking.
L°^-'''^'hk Teems' hke hours,
scene which seems
but actually takes less
minute you see a plane g
a terrific power 11^^'^,"^ .
Straight for the ^rth-^T^^^^
mendous ^ir pressure np ^
^'"^^^a^X Se pTi bails out.
Xn his parachute opens,
start breathing agam.
@
Did you know thai "infideUty"
ma yo" Is oHicially
Is a homd "g^-g office
horrid because the Hays
has barred its ^^^^rd's
And that's why Joan Crawior
Hollywood Oddities: lohn
h^ daughter's birthday. . ■ - Jor
,w vea« Gail Patrick has been
^'^ing "o « HoUywood fort«.e
frfler, and each year he tells her
*i some day she'll be m Pic-
toes . . When bees got mto
W C. Fields b<»«««'"^T^n
ago. two of them stung W. C. on
Z nose, but no one couW teU
the difference. . ■ • "^^'T'
Henry Hathaway reversed the
S procedure one aftemc«n
when he walked out on the cast
of "Spawn of the North.
Dilemma Dept.: Mack Grey
affectionately known • as the
Killer," ^nd renowned as George
Ra t's constant compamon, lost
out on a role in "Spawn of the
Bergen's
bag of tricks
amuses
Mary Brian.
Presto — a
false mous-
tache is a
-< le-^mm^^^^^ tOUpeel
and turned him dow"-s^!f £
looked too tan and healthy lor
a prison inmate.
There's a brand new socteen
thousand dollar organ at the b^
Charles CothoUc Church m North
HoUywood, and the donor .s the
Cro^r. Mr. Bing Crosby. In
aS^o his gift Bin, also ap-
peared as soloist with ^e ^o«
on the Sunday they dedicates
the organ.
A prominent screen and radio
comic (he's not on the air
present) has just emerged f orn
several weeks in a hospital,
Xre he underwent treatmen
for overindulgence in things
alcoholic. Everyone hopes it
taught the guy a lesson, because
If ft didn't his career w.U be
ended within a f ar. He s a
very nice gent when he s away
frohi the bottle, and all ws
friends are hoping he has really
said goodbye to it.
new picture, token from a story
caned-ahem-.-wm come to the
screen as "FideUty.
;„«t toved with his food, anu
critic She takes him to all
rushes of her pictures and hopes
'they will rate "four barks.
/
Pat Ellis and Martha Raye
have a chat at the Big
Pineapple Ball.
I
65
leads a vivid and interesting life ^
One of the most attractive post-debutantes in
Saint Louis is Jane Alva Johnson. She is whole-
hearted in her enthusiasms —"loves" horse
shows, entertaining, and smoking Camels.
"Most of my friends smoke Camels, too," she
says, "and they know I smoke nothing else.
Even though I smoke quite steadily, I'm always
ready for another Camel. Which is one of the
nicest things I could ever say about a cigarette!"
Riding, hunting, and horse shows are "an old
story" to Jane Alva Johnson. While at Fermata
School, she was a whip in the Aiken drag
hunts. Her horses have won many trophies and
ribbons. And she has even run off a show of
her own! Above, Jane chats with Olive Cawley
(left). "I don't have to look to see what ciga-
rette you're smoking, Jane. Camels again!
Why is it that you smoke nothing but Camels?"
asks Miss Cawley.
Jane's reply is quite emphatic: "Camels
are delightfully different. They never tire my
taste. I depend upon having healthy nerves
— and Camels never jangle my nerves. They
are always gentle to my throat too. In fact,
in so many ways. Camels agree with me!"
Among the many distinguished women who
find Camels delightfully different:
Mrs. Nicholas Biddle, Philadelphia • Mrs. Powell Cabot, Boston
Mrs. Thomas M. Camegie, Jr., iVei<' York • Mrs. J. Gardner Coolidge
2nd, Boston • Mrs. Anthony J. Drexel 3rd, Philadelphia • Mrs.
Chiswell Dabney Langhorne, Virjiinia • Miss Alicia Rhett, Charleston
Miss LeBrun Rhinelander, New York • Mrs. John W. Rockefeller, Jr.,
New York . Mrs. Rufua Paine Spalding III, Pasadena . Mrs. Louis
Swift, Jr., Chicago . Mrs. Barclay Warbiirlon, Jr., Philadelphia
CAMELS ARE A MATCHLESS BLEND OF FINER, MORE
EXI'ESSIVE TOBACCOS . . . TURKISH AND DOMESTIC
PEOPLE DO APPRECIATE THE
COSTLIER TOBACCOS
IN CAMELS
THEY ARE THE
LARGEST- SELLING
CIGARET I E IN AMERICA
Miss Johnson had the exciting
experience of being chosen
■ Queen of the Veiled Prophet's
Ball — a signal honor in the so-
cial life of Saint Louis. Above,
a fashionable artist's portrayal
of Miss Johnson, regal in her
court gown of lame and sable.
Throughout the excitement of
parties, travels, and an active
sports Hfe, Jane turns to Camels:
"When I'm tired, smoking
Camels gives me a 'lift'! And
that delicate Camel flavor al-
ways tastes just right."
ONE SMOKER
TELLS ANOTHER
Copyriitht. IMS. K. .1. Iioyii..lcl» 1 •>lm. c.i i:.... W J11-1..1, ■ S,il,.i,i . N. C.
mi
Jane Withers — a problem child on the
screen — but a good child to Mother.
And everywhere that Nelson goes, Mrs.
Eddy's sure to be! He wants it so.
"SKIN-VITAMIN"
SCORES HIT WITH
WOMEN
Scientific findings in different countries awaken
interest of leading hospitals. A eertain vitamin is
found to heal wounds, burns, infections, when ap-
plied direct to the skin!
New York! Tested in Pond's Cold Cream, the
"skin-vitamin" brings definiteresults! Slides thrown
on screen show skin of animals is rough, scaly,
when diet lacks "skin-vitamin" — show skin smooth,
healthy again, when Pond's Cold Cream contain-
ing "skin-vitamin" is applied daily.
Teieplione calls and letters greet the first Pond's
advertisement offering Pond's Cold Cream with
beauty-giving "skin-vitamin" to women (October,
1937, magazines).
A young wife in Tarry town-on-the-H iitison, N. Y.,
writes: "I have never used anything like this cream.
It's grand! In two weeks rougliness was entirely
gone, my skin felt velvety and smooth."
Society beauties tell of greater benefits from
Pond's Creams with "skin-vitamin" — (reading
down) FREDERICA VANDERBILT WEBB, now Mrs.
David S. Gamble, Jr.; WENDY MORGAN, now Mrs.
Thomas Rodd, III; MRS. ALEXANDER C. FORBES,
grandniece of MRS. JAMES ROOSEVELT— "Texture
finer." "Skin softer." "Color better than ever."
Druggists — answering increasing requests from
women for Pond's Cold Cream with the "skin-
vitamin" in it — explain to them that it comes in
the very same jars, with the same labels, at the
.'ame price.
Announced nine months ago,
the "Skin-Vitamin" was quickly
accepted by Thousands of
Beauty Seekers
Thousands of women have already tried
Pond's Cold Cream containing the
"skin-vitamin," special aid in maintain-
ing skin health and beauty. New thou-
sands are constantly learning of its in-
creased benefits.
Women's satisfaction is recorded in the
mounting sales of this widely known
beauty aid. Today Pond's Creams, long
famous as largest selling creams in the
world, now with the beauty-giving "skin-
vitamin" have reached the largest sales
in their entire history!
Tune In on *'Those We Love," Mondays^
8i30 P. M., N.Y. Time, N. B.C.
Copyri«ht, 1938, Pood'y Extract Cornpnn^
69
MODERN SCREEN
"Fella, it's already gone!
You see — I found that pack-
age of Beeman's you slipped
in my pocket! Some flavor,
I'll say! I like that luscious
smoothness — that clean tang!
Look at the package — see
that tight sealed foil? Keeps
the air out and the fresh
flavor in — no wonder Bee-
man's has such fresh snap
and go! Let's stop in for
more Beeman's right now!"
Beeman's
AIDS DIGESTION...
No. 6013 — A
stunning all-
purpose coat
with lots of
"umph!"
No. 6025— The
knit suit is
ideal for the
first days of
fall.
FALL
FOBECAST
KNITTERS, look to the future ! It's
not a bit too early to get ready for
the first cool days of fall. While
away idle vacation hours with busy
needles, and before you know it, you'll
have a smart new costume ! Here are
two brand new designs for you to
start on. Unusual sleeve and shoul-
der treatment of No. 6013 gives you
a stunning double-breasted, three-
quarter swagger coat that can be
w^orn for any occasion all next fall and
right on through the winter on mild
days. It looks complicated, but is
really quite simple to make. The ele-
mentary stockinette stitch is used for
No. 6025, a smart suit with distinc-
tive fitted flowered jacket and flatter-
ing vestee which can be removed and
replaced by a blouse or gilet for va-
riety.
Why buy an expensive fall coat or
suit when you can have all the fun
of making it yourself, and at a great
saving? The directions, of course,
are free, but if you want to secure
both directions and materials for these
attractive designs with a minimum of
effort and expenditure, we will send
them to you promptly upon receipt of
your order. Just check 5^our prefer-
ence on the coupon below. Send it in
today, and knit )'our way to fall
smartness during your vacation !
ANN WILLS. MODERN SCREEN
149 Madison Avenue, New York, N. Y.
□ Kindly send me, at no cost to me. Knitting Directions for No. 6013 in size
No. 6025 in size .... I enclose stamped, self-addressed (large) envelope.
□ Kindly send to me directions and materials for the design checked below, in size
and color specified:
I I No. 6013, size
□
No. 6025, size
Color: This design in Black only. Total Cost $12.35
Color: Black — Brown — Nav;
Total Cost $8.05
I am enclosing check (or money order) for $ , to cover all costs. (No orders
will be filled unless accompanied by full payment.)
Name.
Address .
City .
State.
(Check one or both patterns and please print name and address plainly.)
'/O
MODERN SCREEN
11 she keep
Cos
dev.
You
dudette
Colbert
LOVELY SKIN WINS
ROMANCE. SO WHY
TAKE CHANCES
WITH UNATTRACTIVE
COSMETIC SKIN
COSMETIC SKIN
DEVELOPS WHEN PORES
ARE CHOKED WITH
DUST, DIRT AND
STALE COSMETICS.
LUX TOILET SOfikP'%
ACTIVE LATHER GUARDS
AGAINST THIS DANGER
ALWAYS ^
REMOVE COSMET/CS
THOROUGHLY WITH
LUX TOILET Soap.
IT'S THE SAFE, EASY
WAY TO KEEP SKIN
SOFT AND SMOOTH
STAR OF THI l>i«AMOUNT PRODUCTION
"Bluebecs^d's Eighth Wife" *
9 out of 10
reen Stars use Lux Toilet Soap
MODERN SCREEN
a
GaBawa!
MAKE your summer nails lovely
with CABANA, the color meri
admire. Here is a flattering, tawny
red . . . fresh, gay and stimulating
... a color that throbs with romance !
You'll want CABANA in the city
to wear with stylish blacks and
beiges. You'll need it in the country
for your South Sea prints and whites.
At the beach CABANA suits the
scene ... it makes moonlight dances
forever memorable ... it holds a
promise of thrilling things ahead.
Use this striking shade to accent
summer highlights in your hair . . .
the sunny undertone of your com-
plexion . . . the glamour of your
summer self. Get CABANA today!
Glazo Is Ideal
For Summer!
1. LONGER WEAR — new Glazo lasts days
longer without peeling or chipping. Slightly
heavier — clings to nails.
2. EASY TO APPLY — goes
on evenly. Will not streak
or run. Dries quickly.
3. BRILLIANT LUSTRE
— won't fade or become
dull in sun or water.
Get Glazo's smart
new colors — CONGO,
SPICE, I ROPIC and CA-
BANA — at all drug
counters. E.xtra r\ c A
large size, onlyXJr
GLAZ O
72
"HOLLYWOOD IS NOT FOR ME!"
(Continued from page 27)
and some of the people whom I support
objected. They don't even want nie to
have my private charities. I can thank
Hollywood for that !
"I've bought a farm in New Jersey, a
real farm with cows and chickens and
things that grow. It's the only thing I've
ever done to please myself — and I've
worked since I was sixteen. I bought the
farm because I long for harmony and peace
and rest, and — I can't even get to the place !
Hollywood keeps me from it. No sooner
do I finish one picture than I'm called
back for another."
She sank lower into the chair. She was
quite hysterical. There is no doubt about
it — Sylvia Sidney is emotionally tearing
herself in two.
She would like to be in the East for
the East means her native New York and
the theatre — and that good actor, Luther
Adler. Adler, from a family of actors,
has contributed a great deal to Sylvia
Sidney's social consciousness, and given her
diversified interests.
CHE has never been one to care for
^ parties. She would sit in a corner and
feel self-conscious and wish she were home.
I'm sure that's one good reason why her
marriage to Bennett Cerf failed. Mr. Cerf
is a party-going man. And it's another
count against Hollywood. All that dot-on-
the-map offers as entertainment is parties.
And Sylvia is just not that kind of a girl.
Luther Adler has been able to bring
her the interests her nature craves — good
theatre talk, a cause to help, and, above
all, sympathy, that very sympathy she
couldn't get when she was ill in Hollywood,
For in New York, the night she cried so,
the night before I saw her, it was Luther,
escorting Sylvia to a benefit for Spain, and
noting she was upset, it was he who said,
"To hell with Spain!" Then he led
her to a quiet restaurant and let her talk it
out. And, don't forget, every time Sylvia
Sidney makes a moving picture, Hollywood
separates her from Luther,
Besides, Hollywood won't let her make
the pictures she wants to make, despite the
fact she chose "Fury," which was one of
the best she ever did.
"I'd take the smallest part to be on the
same set with Spencer Tracy. He's such
a fine actor. I've just finished 'You and
Me' with George Raft. I like George. He's
so natural,"
She wants to do "Wurthering Heights."
"And Wanger says it's too depressing,"
She wants to co-star with someone in
"The Old Maid."
"It was all set, but the studio says I
can't act restrained. Don't they know it's
much more difficult to scream my head
off!"
And so it goes, Hollywood is constantly
the menace keeping Sylvia Sidney from
her goal.
I could not help comparing this wholh'
frank outburst with a press agent-chaper-
oned interview I had witnessed her give
the previous week, an interview in which
Sylvia could not be herself.
THEN, wearing a black accordion
pleated dress, and knitting a scarlet
sweater, she had sat upon the edge of her
chair and talked tensely on trivial topics,
for Sylvia Sidney is a good actress. With
that emotional voice of hers she can make
bilge sound important and dramatic. She
sat forward on her big chair, she opened
her eyes wide and seemed to force all her
energy into listening to the questions,
and then all of it into answering them :
what she would do if she were somebody
else, the advantage of personality versus
beauty in getting a job. And she spoke
vividly about these things, as if they were
her sole interest. She even talked about
her high-ceilinged living-room and what-
ever in the world she would do if a bal-
loon got stuck up there. She talked until
her chum dropped in and asked for a piece
of gingerbread.
"For Sylvia's cook makes the best in
the world,"
All this seemed a far cry from what she
said to me, from, "It isn't as if I were
really rich. I have to make it now. I don't
want to hang around Hollywood when I'm
thirty-five. I'm like any working girl.
If I get sick, there's no money coming
in."
And so she keeps fighting within herself.
She tries hard, very hard, but as long as
she wages these inner battles, I doubt if
she can possibly be happy. There's that con-
stant mental turmoil. Perhaps if she be-
came a bit ruthless, perhaps if she kicked
over duty, if she really admitted she has
but one life to live, and that living is all-
important, perhaps, then, everything might
straighten out.
Jobyna and Richard Arlen
catch their breath after a round
of the Big Apple.
Pat Wilder tells Edgar Ken-
nedy's fortune, and what a
laugh it's giving himi
MODERN SCREEN
HOW -tdfo
Those long-awaited vacation days are here at last! And New
Haven's great, modern fleet of day and night trains await
your departure to Southern New England's delightful summer
places! Over its network of 1900 miles of steel highways
more than 100 trains daily will speed care-free vacationists
to mountain, lake, and shore.
Join them! Why spend precious vacation hours crawling
over blistering, traffic-laden highways? Instead, enjoy a cool,
delightful trip aboard an air-conditioned New Haven train —
actually a brief vacation in itself!
Low fares in fine, modern coaches buy luxury and con-
veniences found in no other popular travel method: deep,
lounge-type seats . . . air-conditioning . . . scientific lighting . . .
silent, smooth riding . . . beautiful interiors . . . and safely!
Plan your summer vacation and weekends NOW with the
help of the free Resort Booklet described at the right . . .
then choose a conveniently scheduled New Haven train and
your perfect vacation has begun!
SAFETY • ECONOMY • COMFORT • SPEED
Preview the scenic beauties and delightful experiences
that await you in charming old Southern New England.
Free 1938 Resort Booklet is profusely illustrated with
photographs of scores of vacation places; quaint fishing
villages . . . Old Provincetown, the artist's paradise . . ,
Nantucket . . . Martha's Vineyard . . . Connecticut and
Rhode Island's beautiful shores . . . mountains, lakes, ami
rolling hills . . . and many other glimpses of this id^'al
vacationland.
You'll find the answer to "where shall we go this sum-
mer?" in this handy complete Resort Booklet: lists
Hotels, Inns, Boarding Houses, Camps, Golf Clubs, Rod
and Reel Clubs, etc. Helps you with your vacation
budget problem, loo . . . gives resort rates.
Write now for your free copy of the 1938 booklet, "South-
ern New England Resorts and How to Get There."
Address: Room 596, South Station, Boston, Mass.
The ]\^ew Haven
Railroad
73
MODERN SCREEN
FIRST AID FOR FALLING STARS
— use the lipstick that gives a natural glowing
color to their lips. ..never a "painted greasy
look." Whether you are blonde, brunette or
red head— Tangee gives your lips the color
that best suits your complexion.
Like magic, Tangee changes from orange
in the stick to warm blush-rose on your lips.
Only Tangee has this famous Tangee color-
change principle. Its special cream base
keeps lips soft. ..smooth. Try Tangee. 39(^' and
$1.10. For a natural matched make-up use
Tangee Face Powder and Tangee Rouge.
THIS SUMMER, use Tangee Creme Rouge, waterproof. Never
streaks or fades — even when you're swimming.
Untouched — Lips left
untouched are apt to have a
faded, parched look.
Greasy, painted lips—
Don't risk that painted look.
Men don't like it.
Tangee lovable lips —
Intensifies natural color,
ends that painted look.
TB Ubr/i/s Mosf Famous Lipstick
ENDS THAT PAINTED tOOK
BEWARE OF SUBSTITUTES! There is only
one Tangee — don't let anyone sivitch you. Be sure
to ask for TANGEE NATURAL. If you prefer more
color for evening wear, ask for Tangee Theatrical.
and TANGEE CHARM TEST
The George W. Luft Co.. 417 Fifth Ave., N. Y. C.
I Please rush "Miracle Make-Up Set" of sample
Tangee Lipstick, Rouge Compact, Creme Rouge and
I Face Powder. I enclose lOtf (stamps or coin). (15^
' In Canada.) Also please send Tangee Charm Test.
I Check Shade of □ Flesh □ Rachel □ Light
, Powder Desired Rachel
I Naine
I Address-
. City
■ VleHKt, Print)
(Confiiiued from page 35)
asking for First Aid Number Two, but so
far it hasn't been forthcoming. Constance
Bennett got it in "Topper."
The publicity staff comes to bat if Aid
Number Three is called for. The star, who
probably has high-hatted newspaper and
magazine writers, has a sudden attack of
graciousness and says that she will see
interviewers. The publicity men telephone
the papers and magazines to that effect, and
probably get the reply, "What of it?"
Then the press agents go to work. They
beat their breasts and wail, they remind
the editors of their own long-standing
friendship, they beg for interviews as per-
sonal favors. The star doesn't know that.
She's quite sure that it . is because she is
herself that the writers want to see her,
and nobody tells her that it's just because
the press agent is a good guy and deserves
a break.
The falling star grows lenient, usually,
about letting people visit her on the set,
if they're people who can help her. No
longer does she go into a tantrum if an
alien face appears while she's giving her
all for the cameras.
If she takes a trip to New York, as she's
likely to, she entertains the press. Her
company gives a cocktail party for her.
Newspaper and magazine people are in-
vited, and a lot of people who are asked
because you have to have a lot of people at
a party like that, and a lot more come
because they always attend such shindigs,
though nobody knows just who they are, or
why they should be there. They seem to
have second sight, when it comes to know-
ing that such a party is to be held. So
everybody goes.
It's given in a hotel or a smart restau-
rant. Liquor flows freely, and is drunk
largely by the people who can't do the star
any good. The star is led about by a rep-
resentative of the company, from one in-
fluential person to another, and talks to
them, and if she has been very disagreeable
in the past they say as little as possible and
hope that she will go away soon so that
they can continue to talk with their friends.
Sometimes, at such enforced exchanges of
courtesy, the star and the interviewer re-
mind you of two fighting cats with arched
backs, just preparing to unsheath their
claws. The anxious representative of the
star's company stands by and hopes for
the best.
Maybe he gets it, in the form of nice
notices about the star. But the cocktail
party as first aid isn't sure-fire. Most of
the good writers are awfully suspicious of
those tactics, and will fall over backward
to be no more than fair when they review
the star's next picture.
Another hypodermic is radio perform-
ances. They give the star an opportunity
to reach her public directly, especially if
the program on which he or she is a guest
is a good one, with a nation-wide hook-up.
Marlene Dietrich tried her hand at broad-
casting recentl}', with satisfactory results
so far as she was concerned. She signed
up for a regular program. Robert Taylor
was in danger, his company felt, of being
considered too pretty, especially by men.
So he was mauled around a bit in "A Yank
at Oxford," and made a regular feature of
Metro's weekly radio program, where he
has a chance to prove that he's another
regular guy.
The press agent has another duty service
to perform, if it is necessary. He can
try to give the star a new i)ersonaIity. If
she has been frightfully cold and haughty.
he turns out a flock of stories, telling how
kind she is to dumb animals, how she loves
flowers, how interested she is in her own
dear little home, where she does every bit
of the housework herself, including the
heavy cleaning. He rounds up a lot of her
"favorite recipes" that he sends to the
women's pages of the newspapers. The
theory is that, if Mrs. Blank bakes beans
the way the star is said to bake them, and
likes the beans, she'll like the star's next
picture.
If the star is in New York, she gets a
change of heart about appearing at benefits.
She'll do her turn on the program any-
where, for anything. She's trying hard to
be a likeable human being, you see, and
the press agents of her company are trying
hard to help her.
She woos you with every trick she knows.
She dresses as she thinks you'd like her to
dress. She works hard over perfecting a
good act, she's sweet to all of you who
come back-stage to see her, though she may
be almost perishing from fatigue. She tells
you that she loves your city, although she
may wish that it were at the bottom of the
ocean, and that she'd never left her little
fifty-room shack, vi'ith swimming pool, back
in California.
But she'll do anything to cancel that
dread verdict, "Poison at the box-office."
It's almost as bad as a death sentence.
She'll kiss babies, and sign programs till
she nearly gets writers' cramp. She'll take
every first aid dose that her company pre-
pares for her.
And maybe, in spite of it all, the com-
pany will just buy ofif the rest of her con-
tract, and there's nothing left for her but to
go to New York, declaring that she is
tired of the movies, that she's yearning to
go back to the stage (where she may have
been a chorus girl in the back row), that
she's looking for a good play.
And you, the powerful public, whose
favor she could not win once she'd lost it,
blissfully go to the movies to see other
stars, and never miss her.
Gene Raymond and Olympe
Bradna (pronounced O-lamp)
are amused by the script of
"Stolen Heaven."
74
MODERN SCREEN
is keen about Lux***
'Deanna is as finicky about the care of her clothes as I am
myself/* says her mother. "I won't trust silks and woolens
{nice cottons, either) to anything but Lux/* Mrs. Durbin adds.
Lux keeps washable frocks and blouses
charmingly feminine — lingerie fresh and sweet — stock-
ings sleekly smart. All dainty things safe in water alone
are safe in gentle Lux. It's easy to get a reputation for
exquisite daintiness with Lux. It has no harmful alkali,
as harsh soaps have — does away with cake-soap rub-
bing. This superb care that the screen stars adore costs
next to nothing — yet it saves dollars on upkeep!
DEANNA'S FAVOR-
ITE COLOR is blue
and she likes
simple lingerie
touches. "It's
easy to keep Lux-
able dresses al-
ways spick-and-
span," says her
mother.
AT UNIVERSAL, as at
other leading Holly-
wood studios. Lux is
specified in the ward-
robe departmentforthe
care of everything
washable. It insures
freshness and dainti-
ness . . . savesthousands
of dollars in upkeep and
replacements.
IN HER PICTURES, too, Deauiia wears
Luxablcs. See her iti Diiiversars
new picture, "That Certain Age."
75
MODERN SCREEN
EXTR DDED ATTRACTION!
Such flavors as lemon, While another of her
molasses, spices and favored summer sweets
pineapple distinguish is the raisin-filled
Anita Louise's treats. Pound Cake shown here.
Courtesy Sun-JXaid Raisins
BY MARJORIE DEEN
WHEN YOU are considering the bill of-
fered at your neighborhood movie house,
have you ever noticed how amazingly
often it will not be the announcement of
a double feature program that draws you
into the theatre but those intriguing
words "extra added attraction" appearing
on the marquee ? No doubt the idea that
you are getting something more than the
usual entertainment is the thing that in-
trigues your fancy and adds an element
of surprise and interest which gives a
possibly mediocre bill greater appeal.
So it is with meals, too, according to
Anita Louise, the lovely guest star of
oi'r cooking school this month. Yes,
claims our fair Anita, the usual com-
mon or garden variety, two or three
course dinner, far too often appears dull
and routine. But provide the meal, she
advises, with something special that the
family h'ad no real reason to expect, and
what a hit that "show" will make !
Yet, where meals are concerned, this
happy result can be achieved with the
simplest of "added attractions." Hot
biscuits with the main course, for in-
stance, or cheese sticks with the salad.
Or perhaps best of all, "cake with the
last course," suggests our lovely golden-
haired "guiding star."
The cakes suggested by Anita are the
sort that accompany and complement
other forms of dessert such as ice cream,
fresh berries and canned fruits.
Anita's cake favorites are the kind that
are baked either as cup cakes or in loaves.
And these, if they do happen to boast of
an icing, generally have one of the simple
confectioner's type on the top and not on
the sides. With recipes for two or three
of these in your files, advised Miss Louise
in a little talk we had recently, you can
finish oE any meal — especially in sum-
mer— in the finest style imaginable.
Chances are equally strong that that
"extra something"' will win more ac-
claim than the culinary main features if
you follow Anita's recipes.
For they are oh ! so good — every one
of them, take it from one who tested
them and who passes on the recipes to
you, knowing that during the months to
come you'll be delighted to have them.
You'll find here, then, .-Vnita's favorite
gingerbread, with not too much molasses,
since she dislikes a very dark cake.
And what a Pound Cake recipe is
hers, filled with plump raisins and ready
to attest to your cooking skill.
Then, as these are both of the loaf
cake variety, be sure not to overlook the
cup cake recipe, for these Summer Spice
Cups are pretty special. Actually they
are of the fruit cake type ; but to assure
greater hot weather enjoyment, far light-
er both in color and texture than the
usual fruit cakes. IMaybe it's my own high
opinion of their rich pineapple flavor
that makes me assert, without fear of
contradiction, that these fragrant little
treats actually deserve feature billing.
SUMIMER SPICE CUPS
1 (No. 2) can crushed pineapple
2 cups sifted flour
yi teaspoon salt
1 teaspoon soda
1 teaspoon cinnamon
teaspoon nutmeg
yi teaspoon ginger
yi cup butter
54 cup vegetable shortening
1 cup sugar
2 eggs, well beaten
1 teaspoon grated lemon rind
y2 cup seedless raisins
yi cup chopped nut meats
2 tablespoons flour
Place contents of a No. 2 can of
crushed pineapple in a colander over a
bowl, to drain. Sift flour, measure ; add
salt, soda and spices and sift together
twice. Cream together butter and vege-
table shortening until fluftV. Add sugar
gradually, creaming well while adding.
Add eggs beaten thorougi:l.v. Beat well.
IMeasure J-j cup of the juice drained from
the pineapple. Add the pineapple juice
to butter mixture alternately with the
flour mixture, a little at a time, stirring
until blended after each addition. Fold
in tlie 1 cup of well drained crushed pine-
apple. Add raisins and nut meats which
have been dusted with the 2 tablespoons
flour. Blend thoroughly but lightly. Turn
into cup cake pans which have been lined
with paper baking cups*. Bake in mod-
erate oven (375° F. ) 20-25 minutes.
76
MODERN SCREEN
Delectable desserts
like these receive
Anita Louise's most
enthusiastic praise
*As this batter Jws a tendency to
stick to the pan — however zi'ell greased
— using pan linings is strongly recom-
mended. This cake may also be baked in
tzvo loaves — also in lined pans — allo-a'-
ing a longer baking period.
RAISIN POUND CAKE*
IVi cups seedless raisins
4^ cups sifted all-purpose flour
teaspoon salt
2 cups butter (1 pound)
2 cups granulated sugar
9 average size eggs, separated
1 teaspoon lemon extract
1 teaspoon vanilla extract
Rinse raisins in hot water, drain and
dry on towel. Sift flour, measure. Add
salt and sift three times. Cream but-
ter until very soft and fluffy. Add sugar
gradually, beating constantly. (A very
thorough blending of sugar and butter
is essential.) Add egg yolks which
have been beaten with rotary beater un-
til thick and lemon colored. Blend well.
Add one half of flour and mix until
smooth. Add flavoring extracts and
raisins mixed with remaining flour.
Beat until smooth. Fold in stiffly beaten
egg whites thoroughly but lightly. Turn
into two loaf pans which have been
greased, lined with paper and greased
again. Bake in moderate oven (3S0°F.)
about 1 hour and 25 minutes, or until
cake tester inserted in cake comes out
clean and cake is firm to the touch.
''This recipe may be divided in half
and baked in a single pan for a "Half-
A-Pound" Cake.
PECAN GINGERBREAD, ANITA
\Y2 cups sifted flour
54 teaspoon salt
^2 teaspoon soda
1 teaspoon baking powder
1 teaspoon ginger
y2 teaspoon cinnamon
Yj, teaspoon nutmeg
cup granulated sugar
Y2 cup light molasses
Y2 cup butter
boiling water
1 egg, well beaten
Y2 cup chopped pecans
Sift flour, measure. Add salt. soda,
baking powder and spices. Sift to-
gether twice. Place required amount of
sugar in measuring cup ; fill cup with
molasses. Stir and add to flour mixture.
Half fill measuring cup with butter :
add boiling water to fill cup. Stir until
butter has melted. Add water mixture
slowly to flour mixture, stirring vigor-
ously. Add beaten egg; beat together
thoroughly. Fold in pecans. Bake in
square greased pan in moderate oven
(350° F.) 35-40 minutes or until cake
tester inserted in cake comes out clean.
Cool on wire cake rack.
HE CARRIED HER
AND THEY LIVED HAPPILY EVER AFTER
So BEGINS the story of many a happy mar-
ried life. He goes out into the world
to earn their living. She does the equally
important job of keeping house. It's the
world's oldest partnership — and the best.
The wise bride knows how important it is
to be able to turn out appetizing and nour-
ishing meals on her limited budget. What
shall she do to make that cold meat left over
from Sunday dinner into an appetizing dish
for Monday night? Often she makes a com-
bination dish with delicious savory Franco-
American Spaghetti. Of course it goes big
with husband — and her food money stretches
just that much further. Franco-American with
salad and dessert makes a wonderful quick
meal when you want to cut cooking time.
Later, bride will learn that when Junior
and Sallie come home ravenous from school,
Franco-American Spaghetti with milk and
fruit makes an ideal children's meal— and
they never tire of it. It's nourishing, savory
— and on the table in a jiffy.
Yes, indeed! Franco-American is entirely
different from ordinary ready-cooked spa-
ghetti. It usually costs only ten cents for a
big 1 5%-ounce can — that's less than 3ff a por-
tion. Get some Franco- American Spaghetti
today at your grocer's. Watch your husband s
eyes sparkle after the first delicious mouthful!
Fronco-^Imerican spaghetti
"I^X The kind u'ith the Extra Gnnd Sa/ice — M^ide by the Makers of Campbell's Soups
'S- '•■<■'/ f MAY I SEND YOU OUR FREE
RECIPE BOOK? SEND THE
COUPON PLEASE
I Campbell Soup Company, Dept. 67
Camdea, New Jersey
I Please send free recipe book: "30 Tempting Spaglietti Meals."
I Name (print)
I Address
I City State J
77
MODERN SCREEN
FOR HE'S A SERIOUS FELLOW
Who tossed that
BRIQUE?
Paris tosses us Po-Go, its favorite
rouge- in Brique, its favorite shade.
And you'll toss your hat in the air
when you try it!
Po-Go's so unusual! Has a remarkable,
feathery texture, for it's handmade in
France. Goes ovi as evenly as powder, then
stays put for hours. And its exclusive
Brique shade is the most exciting, most
flattering you've ever tried. Perfect for
blondes! Perfect for brunettes! Perfect for
brick-tops! In fact, Brique tops them all!
Toss down only 55c at your favorite
toiletry counter, for Po-Go Rouge, Brique
shade. Or send 55c (stamps will do) to Guy
T. Gibson, Inc., 565 Fifth Ave., N. Y. C.
The perfect shade, BRIQUE — only in
ROUGE
a R o o g e ,.
55^
Copyright, 1938
G. T. G. Inc.
HERE'S THE EASY
INEXPENSIVE
-SET YOUR
WAVE WITH
Dr. Ellis' Wave Set gives you
a soft, beautiful, lasting wave!
Quick-drying, non-flaking
. . . it's the world's most
popular waving lotion !
O— GIVE IT
LUSTRE WITH
Vn. EUii ' B/ulUa/din£
Try the new Dr. Ellis' BriUian-
tine ! It helps hold the wave,
gives your hair a silky lustre
and a delicate perfume.
DR. ELLIS
SALES CO., INC.
1125 PENN AVE., PinSBURCH, Pfl.
(Continued from page 29)
forty cents ?' I am a fan for every star and
player. I know how hard their jobs have
been, what they've been up against. Some-
times I go to study the performance of
this actor or that, but usually I go simply
because I get the same kick out of movies
that the little maid on the corner gets.
T'M a worrier, I am. I worry about the
state of the country, the state of the
world. I worry about the future. I worry
about ;;;_v future. When I get a part I like
in a slick picture, I no sooner start to
work than I begin to worry about my next
picture, where it will be, what it will be,
if it will be. And all about it. I'm worry-
ing right now. I worry about everything.
"I'm neat, too. Surprise? I'm so neat
I drive myself mad. I'm an ash-tray-
emptier. Even in strange houses I go about
emptying ash trays for people who prob-
ably don't want me to empty their ash
trays. I've got to have everything around
me in apple-pie order. My ties must be
hung just so. The browns all together, the
greens by themselves, the blues, and so on.
I'd kill anyone who put a black tie among
the yellows. My clothes closets, my desk,
my book-shelves, everything about me and
belonging to me must be, not just plain
old so-so, but so-so-so. On the other hand.
I slide around in any old get-up when I'm
not working. Randy and I still have our
house at the beach, and when I'm there I
spend most of my time in bathing trunks.
"I'm a man of two natures," grinned
Cary, mockingly. (He always seems to be
mocking himself, even when what he is
saying is serious.) "I have my 'light' side
and my heavy side, very heavy. I like to
go to football games in the afternoon, and
to the Philharmonic in the evening ; to the
Huntington Aluseum of Art another after-
noon, to a burlesque show that evening.
When I was in New York I often went
to the Symphony at Carnegie, and followed
it up with a bust at Coney Island. I like
what I like when I want it,'' said Cary,
making one of his sudden springs to a
sitting position, his voice husky, but not
susurrant. And through the megaphone, in
an agonized bellow, came "no off-stage
whispers, please. We can hear you. We
are catching off-stage noises."
"I am still a man of two natures — and
two voices," said Cary, relapsing. "Every
morning, for instance. Randy and I run
up and down the beach for half an hour,
taking deep breaths. I don't know what
for, unless it's in the hope of growing three
hairs on our chests where only one grew
before. Then I drop dead and can't work
for the rest of the day. We have a gym
in the basement of our beach house, too,
with all kinds of dumb-bells ( I'll have no
punning, please), and yet I'd rather lounge
on the back of my spine than anything else
I know about.
"Which reminds me of my bed. Have I
told you about my bed? I thought not,
but I was bound to get around to it. It's
the biggest thing in my life. We had to
cut down the banisters to get it upstairs.
We had men working all over the place
for days after it arrived, replacing walls,
and chandeliers, and things. For years
I've been suffering while I slept. If I
turned over I'd fall out. Or I'd crack my
big toe. Or I'd lunge around as I do
when I'm sleeping, and knock half a dozen
gadgets off one of the flimsy little bed-
tables people put up with. I'd go to the
Troc or somewhere, spend a lot of money
having fun, and then couldn't sleep it off.
"So, I had me a bed made, long enough
that when my chin is covered, my knees
are not exposed to the elements. I'm too
long for the average bed, you see, That's
the point. And this bed serves, among
other and more practical purposes, to
prove my point, that I am a man of two
natures. It is my one luxurv, the only
luxury I ever bought for myself. I haven't
a tiled bathroom with a built-in shower
and all the comforts of a spa. I can bathe
in the kitchen sink if it comes to that. I
drive an ordinary car. We have an ordi-
nary beach house, rented. I have no hob-
bies. I don't own a yacht, plane, polo
ponies, a home anywhere. I never take
holidays, ^except this one." Cary indicated
the set. "And you've noticed the carnival
atmosphere here, haven't you? I'll have
two weeks' 'vacation' after this picture,
and I'll spend it studying my next script,
having clothes fitted, having interviews!
portrait sittings, dentistry done. No, I
don't spend any money on myself at all.
but I_ did have me this bed made, and it
may interest those who love me to know
that Grant sleeps at long last.
' I 'HE bed," beamed Cary, cupping his
A hands around his mouth, which was
the one voice-silencing method we hadn't
yet tried, "the bed is so long and so broad
that you could mark out a football game
on it. I can do seven turn-overs," and
never reach either edge. I can lunge, and
lunge, to my heart's content. In the head-
board I have a built-in radio, a place for
my candies, a place for my telephone, a
place for ash trays and cigarettes, and in-
direct lighting which I can control three
different ways by the mere flip of a paw.
The indirect lighting means that I can
now read without eye strain. And I read
a great deal. _ The bed is made of bird's
eye maple, with copper fittings, and it's
really a beautiful job. It's not as Holly-
wood as it sounds. It has no Lalique glass
inserts, nor a canopy under which the
Doges might have slept. It has dignity
and decorum, and anyway, I figured that
I spend one third of my life in bed
(sometimes only one tenth, but who'd
waste a whisper on the difference?) and
the percentage calls for splurging."
I had one question I wanted to rasp out
before I went forth into the world where
By the expression on Gloria
Stuart's face, we're sure
Michael Whalen is hard to
convince.
78
MODERN SCREEN
Marjorie Weaver, Alice Faye
and Joan Davis get together to
be snapped.
men speak in normal tones, and rasp it
out I did.
"Are you going to get married?" I
whispered.
"How sliould I Icnow?" asked Cary, liis
rasp rising an octave. Whereupon, "No
off-stage whisperings. We are catching off-
stage noises."
"That 'noise,' " grinned Cary, "will be
in the columns tonight."
"But I read in the columns," I persisted,
as privily as possible, "that you and Phyllis
Brooks . . ."
"Have a lot of laughs together," under-
toned Cary. "No, that's not what you
read, of course. That's what I'm telling
you. That's the truth. We have a lot of
laughs, a lot of fun together. We do not,
and have not, discussed marriage, mice or
men. If ever we do get married you'll
know about it when you read the an-
nouncement in the papers, after the cere-
mony. You won't know about it before
the ceremony. No one will know about it.
/ won't know about it.
HOW would I know whether I'm going
to get married," whispered Cary wear-
ily, "until I get married? I take romance
seriously when I'm being romantic, of
course. You can tell that I'd be a cinch
ivhispcring sweet nothings in the moonlight."
A little bird told me that Cary likes
blondes, especially natural blondes, with
as little make-up as a lady can respect-
ably leave off, no red nail goo, no lip goo,
no affectations of any kind. The same
wise little bird whispered that Phyllis
Brooks seems to fill the Grant graph on
what a girl should be. The little bird
w ent on to place a very large bet that there
will be wedding bells for Phyllis and Cary,
whether sooner or later.
"But what's the idea of planning to get
married?" Cary was hissing. "What's the
idea of 'setting the date' for November
22nd, or January 19th? How the heck do
\ou know whether you'll feel like getting
married on November 22nd. The date to
get married is when you feel like getting
married. That's the way it will be if I am
the bridegroom in the case. That's all I
can whisper about it, for that's all there
is to it at present."
Cary's stand-in, a very personable young
man by the name of Mel Merrihue, now
thrust his head in at the door. He said,
"Mr. Cukor'll be ready for you in a minute."
"I can't," gurgled Cary, desperately. "I
can't talk. Get me something to gargle
with, will ya? Get me a voice-restorer, a
larynx-lubricator."
I tip-toed off the set. Through a mega-
phone came the dread, stentorian voice "itr
arc catching off-stage tip-tocs."
JIM LOVES TO
DANCE WITH ME!
I ALWAYS BATHE
WITH FRAGRANT
CASHMERE BOUQUET
SOAP! it's THE
LOVELIER WAY TO
MARVELOUS FOR COMPLEXIONS, TOO!
You'll want to use this pure, creamy-
white soap for both face and bath.
Cashmere Bouquet's lather is so
gentle and caressing. Yet it removes
dirt and cosmetics so thoroughly,
leaving your skin clearer, softer . . .
more radiant and alluring!
TO KEEP
NOW ONLY IO<^
at drug, deparfmenl, ten-cent stores
BATHE WITH PERFUMED
CASHMERE BOUQUET SOAP
79
MODERN SCREEN
TODAY'S TALKIES
(Continued from page 12)
-ki^ Battle of Broadway
Shades of the slapstick era — this one.
When you consider that the plot centers
around an American Legion Convention and
that the principal characters involved are
Victor McLaglen, Brian Donlevy and
Louise (Gypsy Rose) Hovick, you can
figure out for yourself that it doesn't lack
robust comedy.
Besides the commendable cast, the plot
is good enough to hold you in your seat
right through the last black eye. McLag-
len and Donlevy, though war-buddies, are
mortal enemies when a woman is involved.
And when Miss Hovick becomes the
femme fatale, there are even hard feelings
between the boys and their old friend, Ray-
mond Walburn. The latter is president of
the Bundy Steel Works and a man of the
highest ideals — until he spots the leading
lady. From then on, the trouble begins,
winding up with all the Legionnaires pitch-
ing in.
It's rip-roaring business from first to
last, and guaranteed to produce chuckles
and hearty guffaws. For any Legionnaires
in the audience, it vi'ill prove a rib-wrecker.
Though Victor McLaglen steals the show,
he gets some stif¥ competition from Brian
Donlevy and Raymond Walburn. We can't
dispute that Louise Hovick is an eyeful,
but she can still stand a few more lessons
on the finer points of a dramatic perform-
ance. Directed by George Marshall. —
20th Century-Fox.
A Trip to Paris
Pictures may come and go, but the Jones
family continues to be the best entertain-
ment in its field. Like its predecessors, "A
Trip To Paris" is light comedy, riddled
with hokum, and not conspicuous for its
plot.
Father Jones, Jed Prouty, is inveigled
into taking his wife. Spring Byington, and
the entire family to Paris on their twenty-
fifth wedding anniversary. The usual Jones-
"LEO TOWNSEND. winner of
the Preview Poll, is Holly-
wood's outstanding
critic. . . ."
— Hollywood Reporter
like complications set in. The son be-
comes involved in a spy plot, while Mr.
Jones' cousin takes him for a good-sized
financial ride. As usual, everything works
out very happy indeed.
This last Mr. and Mrs. Average Family
picture is even better than the ones which
preceded it. The cast again gives con-
sistently good performances. The "bit"
parts are exceptionally well done. The
hotel detective gives one of the most amus-
ing characterizations, and Joan Valerie,
who plays the girl heavy, has much talent.
The writers and director have again
shown their complete understanding of the
intricacies of family life. The Jones Family
is still good, and getting better. Directed
by Alal St. Clair. — 20th Century-Fox.
Bar 20 Justice
With all the present enthusiasm for out-
door dramas (all the major studios are
making open air epics with their top stars)
it is nice to nott that Hopalong Cassidy
hasn't changed a bit. A lesser cowpuncher
might allow the situation to go to his
head, but not Hoppy. His basic qualities —
honesty, fortitude and straight shooting —
are still evident as he goes about the busi-
ness of saving helpless women folk and
making the West a decent place for right-
minded citizens.
Bill Boyd and his familiar company of
stock players act out this tense drama of
gunplay and quick-trigger action with all
their customary enthusiasm. This time
Hopalong is about to entrain for the east
when word reaches him of dastardly goings
on in a nearby mine. Worrying about
mines is beneath a cowboy's dignity, but
when there's a gal involved — well, you
know. In due time the black hearted vil-
lains are brought to justice, and Hopalong
and the gal are fixin' to do some kissin',
although such sissy display of emotions is
left entirely to the audience's imagination.
Bill Boyd plays Cassidy as though he
/TO LOOK AT
...BUT NO FUN TO KNOW!
I'M SORRY TO LEAVE EARLY, MADGE
eUTNOBOOV BUTYOU WILL MISS
ME. PEOPLE NEVER PAY ANY
ATTENTION TO ME AT PARTIES!
t TESTS SHOW THAT MOST BAD
BREATH COMES FROM DECAYING
I FOOD DEPOSITS IN HIDDEN CREVICES
BETWEEN TEETH THAT AREN'T
CLEANED PROPERLY. I ADVISE
COLGATE DENTAL CREAM. ITS SPECIAL |
PENETR/\TING fOf^M REMOl/ES
THESE ODOR-BREEDING 0EP0slT5
AND THAT'S WHY... 1
COLGATE DENTAL CREAM
COMBATS BAD BREATH
pm—^
f ' "'You see, Colgate's
, - , , special penetrating
V foam gets into thehid-
den crevices between
your teeth that ordi-
nary cleansing meth-
ods fail to reach . . .
removes the decaying food de-
posits that Ci?/«emost bad breath,
dull, dingy teeth, and much tooth
decay. Besides, Colgate's soft,
safe polishing agent gently yet
thoroughly cleans the enamel —
makes your teeth sparkle!"
8U
MODERN SCREEN
really meant it, and there are agreeable
performances in supporting roles by Russell
Hayden and George Hayes. Directed by
Lesley Selander. — Parauionnt.
Go Chase Yourself
If it's a spring tonic you're needing, "Go
Chase Yourself" is just the prescription.
It's Joe Penner at his funniest, and this
one will please the most particular sense
of humor.
The story concerns the hilarious troubles
of a brow-beaten gentleman whose wife
doesn't credit him with the sense he was
born with. The gentleman in question is,
of course, Joe, and his spouse, the person-
able Lucille Ball. Joe may not have brains,
but it looks like he has luck when he wins
a trailer — though this doesn't turn out so
fortunately either, since his wife decides
he can sleep in it. This leads to tragedy of
sorts. The climax is most hair-raising,
with the trailer taking a nose-dive down
a mountain, and the occupants headed for
certain oblivion.
It's Joe Penner's best screen work,
and the rest of the cast furnishes capable
support, with a special nod to Lucille Ball.
Then there's June Travis, Richard Lane,
Tom Kennedy and Arthur Stone. Directed
by Edward F. Cline. — RKO.
iiriir Under Western Stars
Out of the west — or rather, into it —
comes a new cowboy hero, whose screen
exploits will undoubtedly soon rival the
celluloid heroics of Buck Jones and other
open-air Romeos to whom the six-shooter
is standard equipment. The new Lochinvar
of the plains is Roy Rogers, who sits well
in the saddle, handles his shooting irons
with authority, and possesses the easy man-
ners of a man born to the West.
The plot is built around a fight between
cattle men and the water company people.
The cow interests claim that their enemies,
robbing the soil of the moisture it needs,
are the cause of the dust storms. Right or
wrong, the cowboys got all the cheering
from the preview audience, and the water
boys were handed a round of hisses for
their dastardly work.
What makes "Under Western Stars" an
outstanding western is that it allows the
camera to tell most of the story. Dialogue
is used only where it is absolutely necessary,
a fact which eliminates many a hammy scene
usually encountered in dramas of the open
spaces. Directed by Joe Kane, — Republic.
i^iir Penrod's Double Trouble
Hail, hail, the gang's all here — all those
"regular fellers" who made those other
Booth Tarkington stories into such picture
successes. Again that likable naturalness
of the entire cast has been kept intact.
There isn't a kid in the neighborhood who
won't have the time of his life at this
movie. The plot is particularly thrilling
this time, concerning Billy Mauch's strange
disappearance into the blue after he's hid-
den in the basket of a balloon. His dis-
traught parents. Gene and Kathleen Lock-
hart, offer a reward for his recovery, and
some scalawags in a traveling show decide
to put one over by returning to them a
member of the show instead. Tliis member,
of course, being Bobby Maucli, has every-
body fooled. But then the Junior G-Men,
Billy's tried and true buddies, get going on
the case and — well, we should spoil all the
excitement of the chase for you ! You'll be
glad to see some other favorites in the
cast, too. The Lockharts and Mauclies do
themselves proud, and we think you'll like
"Penrod's Double Trouble." Directed by
Lew Seller. — Warner Brothers.
Dimpled, roly-poly Martha doesn't
know that she's taking part in a study
of infant feeding along with other
babies near Westfield, N. J. She just
knows that life is pretty interesting
now— a new Clapp's Strained Vege-
table appears on the menu every few
days! Clapp's Baby Cereal is an old
friend— she's had it for 6 weeks.
Fine straight back, Martha has. Rosy
cheeks, firm flesh— you can see that
her pressure-cooked Clapp's Foods
are giving her an abundance of vita-
mins and minerals. She gets Clapp's
Fruits and Soups now, as well as
Vegetables and Cereal. With 16 vari-
eties, there's never a dull meal. And
she's gained 4 pounds and 3 ounces
in 3 months.
"How about second helps?" wig-
wags Martha. For like all the Clapp-
fed babies in the test, Martha cleans
up her dishes as slick as Mr. and
Mrs. Spratt were wont to do. Ba-
bies love the fresh, good flavors of
Clapp's Foods. And doctors ap-
prove their well-calculated texture-
smooth, finely strained, but not so
liquid that a baby marks time, witli
no training for the handling of
grown-up foods.
7. >
16 Varieties of Clapp's Sn ained Baby
Fooils — Baby Soup Snnlnnl .ir l'n>rraine(l.
\egetable Soup, Beef Broth, Li\cr Soup; Ap-
ricots, Prunes, Apple Sauce; Tomatoes, .As-
paragus, Peas, Spinach, Beers, Carrots, Green
Beans; Baby Cereal.
FREE BOOKLET! PbotoKraphs an.l records
of 12 Clapp-fed babies— and much \ aluable
diet information. Write to Harold H. Clapp,
Inc., Dept. QSU, 777 Mount Road Blvd.,
Rochester, N. Y.
N E W I . . . for young children
Clapp's Chopped Foods
l^octors askcii tor riicni . . . eveii-tcxtiiretl lotnis
with all the ailvantaucs ot Clapp's Strained Foods,
but more coar.sely divided. .At (Icalcrs' now- re-
member them when yovir baby ourwrows Clapp's
Strained roods.
81
MODERN SCREEN
NO MOR€
TOIL€T
ODORS
ON
ttOTDAyS
Beware of toilet odors during hot
weather. Odors are a sign of insani-
tation. Germs are breeding there.
Health is being threatened. Keep
toilets spotless and safe — without
nasty labor. Just sprinkle a little
Sani-Flush in the bowl. (FoUow
directions on the can.) Flush the
toilet, and the job is done.
Sani-Flush is made scientifically
to purify toilets. It purifies the hid-
den trap that no other method can
reach. The bowl glistens. Sani-
Flush cannot injure plumbing
connections. It is also effective for
cleaning automobile radiators (di-
rections on can). Sold by grocery,
drug, hardware, and five-
and-ten-cent stores. 25c
and 10c sizes. The Hy-
gienic Products Co., Can-
ton, Ohio.
CLEANS TOILET BOWLS WITHOUT SCOURING
NO MORE EMBARRASSMENT
Modern
Feminine
Hijgiene
You need no longer be embarrassed with
greasy, difficult and annoying ways of fem-
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singing the praises of the new kind of
dainty, greaseless, easy-to-use supposi-
tories, Zonitors. Lookinto itfor yourself!
You'll be delighted, too.
The good word spreads! Zonitors are free
from harmful drugs, yet they kill germs.
They are safe to use, no "burn" danger.
They contain no greasy base to melt or
run, and wash away completely with plain
water. All ready for use, no mixing or ap-
plicator. Odorless, the perfect deodorant.
Small, snow-white, in individual glass
vials. Si for box of 12— only 8^3)^ each.
At all drug stores in U. S. and Canada. Full
instructions in package. FREE booklet in
plain envelope on request. Write Zonitors,
3709 Chrysler Building, New York City.
Questions answered, curiosity satisfied— write us
FBAXK MOKG.iX: Before
Frank Morgan went on
the stage, his family
name was Wupperman.
In fact that irrepressible
young fellow of forty-
eight summers was chris-
tened Francis Philip
Wupperman soon after
arriving on this planet
via New York City, on June 1st, 1800. His
father was George TVuppei-man. owner of
the famous Angostura Bitters Corporation :
his mother was a member of the Hancox
family who arrived in these parts via the
well-known Mayflower. Frank was one of
eleven children. At an early age he was
considered the best boy soprano in New
York City, where he sang at St. Thomas
and All Angels' Churches. His early edu-
cation led him through public and jjrivate
schools, and finally to Cornell University.
At the time, young Frank wasn't terribly
interested in higher education, so after two
years he left school, and went into business.
First he sold brushes, then he sold adver-
tising for the Boston Traveler. Itchy feet
finally got him, and he landed out West
near Los Vegas, Xevada. where he became
a cowpuncher. When his older brother,
Ralph, gave up a flourishing law practice to
go on the stage, Frank immediately fol-
lowed suit, adopting the same name his
brother had taken, in admiration for A. E.
Morgan, a favorite actor of the time. After
several years in vaudeville, followed by
other years on the Broadway stage, Frank
made his screen debut with Anita Stewart
in "The Girl Philipa." For several years
longer he mixed stage with movie roles,
then signed a contract with M-G-M. Some
of his most recent pictures have been "The
Last of Mrs. Cheney," "The Emperor's
Candlesticks," "Saratoga" and "Rosalie."
"Port of Seven Seas" and "Swing Fever"
will be his next. Frank Morgan is over six
feet tall, weighs one hundred and eighty
pounds, has light brown hair and gray-blue
eyes. He is an ardent baseball fan. enjoys
biographies and popular fiction, and his fa-
vorite outdoor sports are tennis, golf and
swimming. He has become more popular
with each succeeding picture, until he is
now firmly established in the hearts of all
those who revel in sophisticated comedy.
KOS.\I.IXD RUSSELL: Al
though at one time she
siucerely wanted to be a
theologian. Rosaliud
Kussell finally decided
upon the stage as a ca-
ll ir. She was born June
4th in Waterbury, Con-
ni'cticut. The daughter
of a prosperous attorney,
she enjoyed many advantages. She attended
a private school at Tarry town-on-Hud son
where she was an eager student of litera-
ture, journalism and drama, as well as an
enthusiastic participant in such sports as
riding, swimming, basketball and hockey.
She travelled extensively through Euroi^e.
South America. Cuba and all over the Fnited
States. Being ambitious, and wanting to
be independent and earn her own living, she
tired of travel, and convinced the manager
of a stock company that she had dramatic
possibilities. She was given a small role
which marked the beginning of a thorough
schooling in stock, during which she per-
sistently worked up from the smallest roles
to important ones. Finally she appeared on
Broadway and attracted the attention of
screen talent scouts while she was playing
in "The Second Man." Her screen test re-
sulted in a role with Myrna Loy and Wil-
liam Powell in "Evelyn Prentice." Her work
pleased the studio so much that siuce then
she has been cast in many other important
roles in such pictures as "Craig's Wife " and
"Xight Must Fall." Under contract to M-G-
M. she was last seen in "Man-Proof." has
just finished ''Four's a Crowd" for Warners,
and now is scheduled to make "The Citadel"
which will soon start production in Eng-
land. Tall, slender, brunette, with black
eyes, she is considered an excellent screen
type both by cameramen and by fashion de-
HAVE YOU SENT FOR
YOUR LIST OF ADDRESSES?
Want to Icnow your favorite player's
address? In fact, would you like to
have a complete list of all the Holly-
wood stars' mailing addresses? It's yours
for the asking. So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan letter,
that we've compiled a complete list for
you, naming the players alphabetically,
according to their studio, and giving
their complete mailing addresses. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want it.
To receive one of these lists, all you
have to do is write to us and ask for
it, enclosing a large self-addressed and
stamped envelope. Don't forget that
last item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
82
MODERN SCREEN
signers. On the set she relaxes between
scenes by chatting with visitors, playing
games with her maid or reading the news-
papers. One of her pet hobbies is interior
decoration. She studies the subject eagerly,
and designs all decorations in her own
home. She also designs her own wardrobe.
BUCK JONES: This peren-
nial idol of youngsters
everywhere has been in
pictures for eighteen
years as actor, producer
and director. He has
made over one hundred
and thirty pictures, and
is president of the Buck
Jones Kangers, a group
of some three thousand youthful admirers
from all over the United States and Europe.
He was born December 4, 1889, in Vincennes,
Indiana, but when a small boy moved with
his family to a three-thousand-acre ranch
near Ked Rock, Oklahoma, where he learned
to ride, rope, and shoot with the skill that
later made him famous. From early youth
he loved horses, and could do anything with
them. After a public school education In
■ Oklahoma, Buck Jones joined the army,
saw service in Mexico and the Philippines,
later flew airplanes, raced automobiles,
rode bucking bronchos and roped steers —
all for the thrill of adventure. He spent
several years touring the world with Mil-
ler's 101 Wild West Show. It was during
this time that Buck fell in love with Odelle
Osborne, a circus bareback rider, and mar-
ried her in the center of a circus ring, in
front of thousands of spectators, amidst the
fanfare of blaring circus bands. Today this
same girl is his business manager as well
as his wife. They have a daughter named
Maxine. After several years under the big
top, Buck decided to try Hollywood, and al-
most immediately he was signed as a covi'-
boy actor. After a few months he was made
a Western star, and has been a premier
cowboy attraction ever since. Buck's real
name is Charles Jones. He weighs one hun-
dred and seventy-eight pounds, has dark
blue eyes, brown hair, and stands six feet
tall in his socks. Buck recently announced
his intention to retire his present horse.
"Silver," the third horse by that name to
carry him. through stellar Western adven-
ture roles. The present "Silver" is sixteen
years old, and has been in the movies for
five years. A new "Silver" is being trained
to take his place. Buck Jones enjoys Ha-
waiian music, and loves to throw out-door
barbecues, dancing fiestas, and other par-
ties for his professional and cowboy
friends. He also often entertains groups
of young admirers at his San Fernando
Valley ranch. His latest pictures are
"Hollywood Roundup," "Headin' East"
and "Overland Express." His next will be
"Sudden Bill Dorn."
Mrs. Berlin Farmer, Amonate, Va. Claude
Rains was born in London, England, No-
vember 10, 1889. He is five feet ten and a
half inches tall, weighs one hundred and
sixty-flve pounds. His 1937 pictures were
"The Prince and the Pauper," and "They
Won't Forget." His most recent ones are
"Gold Is Where You Find It" and "The Ad-
ventures of Robin Hood." Claude Rains is
his real name.
Martha Burris, Tyler, Texas. Claudette Col-
bert was born in Paris, Fi'ance, September
13, 1905. She is five feet five inches tall, and
has brown hair and eyes. She weighs one
hundred and seven pounds.
INFORMATION DESK, MODERN SCREEN,
149 Madison Ave., New York, N. Y.
Please print, in this department, a brief life
story of:
Name
Street
City.
State.
If you would lil<e our chart with weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
Always worth stopping for
"CHEW WITH A PURPOSE"
The use of chewing gum gives your mouth, teeth and
gums beneficial exercise. Beech-Nut Oralgenc is specially
made for this purpose. It's firmer, "clicwier". . . helps
keep teeth clean and fresh-looliing.
83
MODERN SCREEN
WHY
ACTRESSES
USE A
HOSPITAL-PROVED
CLEANSING CREAM!
Go into the most fa-
mous dressing-rooms
of Broadway and
Hollywood . . . how
often you'll see Albo-
lene Solid used for
removing make-upl
Actresses know
they can trust Albo-
lene Solid. . . because
it's so pure and effi-
cient that many hos-
pitals have used it ^
jor over 20 years! ^' -
You'll be simply amazed to see how Albolene
spreads and penetrates. Made of pure, bland, deli-
cate oils... it dissolves readily. .. quickly loosens
dirt. Albolene contains no gummy substances— it
leaves your pores clean, your skin soft and silky.
ECONOMICAL!
'What finer cleanser could you
ask than one used both by
leading hospitals and actress-
es? Get Albolene Solid now.
Professional pound tin only
51. Big jar, only 50^.
ALBOLENi
SOLID
CLEANSINGCREAM
flK)iei\e^?H^TKearfre
1 45TH YEAR— Drama, Dance, Vocal for Acting, Teaching,
Directing:, 3 in 1 Coul-se-Radio, Stage, Screen. Graduates:
Lee Tracy. Fled Astaire. Una Merkel, etc. Student Stock
Theatre Appearances while leai-ning. Apply Sec'y, 66 W.
BSth St., N. Y.
Read about Tyrone Power,
Carole Lombard. Edgar Ber-
gen and Charlie McCarthy
in the August
MODERN SCREEN
fOFr TENVBU CUMS
MBA/If /rjr HiCH
TiME
TO ACT!
SEE your dentist at
once if you have soft,
tender bleeding gums.
He'll give you expert
care. But you must
do your job, too.
Forhan's Does Both Jobs
CLEANS TEETH • AIDS GUMS
Help your dentist keep your teeth sound and shin-
ing, your gums firm and healthy, by brushing teeth
and massaging gums twice-a-day with Forhan's
Toothpaste. Forhan's is different. It contains a
special ingredient for the gums/
84
Maud Buck, Marleba, Australia. If you will
send twenty-five cents apiece for each
star's picture, the studio where they work
will be glad to sencl you photographs suit-
able for framing. For Shirley Temple and
Tyrone Power, address 20th Century-Fox
Studios, Hollywood, Cal. ; for Robert
Taylor, JI-G-JI Studios, Culver City, Cal.;
for Buck .Jones, Columbia Studios, Holly-
wood. Cal.
Gloria Delaney, Detroit, Mich. Spencer Tracy
was born iu Milwaukee, Wis., April 5, iftOO.
He is five feet ten inches tall, has brown
hair and blue eyes, weighs one hundred and
sixty-five pounds. You may write him at
M-G-M Studios in Culver City, Cal. The
studio will send you a picture' for twenty-
five cents.
Xoriiia Trease, Irvington, N. J. Frankie Dar-
ro was born in Chicago, December 22, 1917.
He has been in pictures since 1929, was in
vaudeville before that. He is five feet four
inches tall, weighs one hundred and twenty
pounds, has brown hair and eyes. Write
him at Paramount Studio in Hollywood.
William Carlson, St. Paul, Minn. Sonja
Heuie'.s next picture will be "My Lucky
Star." 20th Century-Fox Studio will send
her photograph for twenty-five cents.
Josephine Jordano, Bridgeport. Conn. You
can Avrite Phyllis Brooks at 20th Century-
Fox Studio. Hollywood, and Danielle Dar-
rieux at Universal Studio, Universal City,
Cal. Here are some of the birthdates you
requested : Mary Carlisle. February 3, 1912 ;
Una Merkel. December 10, 190-3; and Gloria
Stuart. .July 14, 1911.
Juditli Howard, Cleveland, Ohio. Robert Liv-
ingston was born December 8, 190S. He is
.six feet tall, weighs one hundred eighty
pounds. His hair is dark, his eyes are
green. He is happily married to the former
Dorothy Gee, and lives in a Hollywood
apartment. He's been in pictures five years.
•June Ryan, Lebanon, X. H. Tyrone Power's
next pictures will be "Marie Antoinette."
lifld "Alexander's Ragtime Band."
Eddie CuUey, Chaddesden, Derby, England.
Helen Twelvetree's last picture was "Holly-
wood Roundup." Walter Huston's last was
"Of Human Hearts." Lionel Atwill's last
pictures were "The Great Garrick," and
"Three Comrades." Fay Wray's last wa.<
"Murder iu Greenwich Village," Constancf-
Cummings' last was "Strangers on a
Honeymoon," Dorothy Mackaill's last was
"Bulldog Drummond at Bay," May Clark's
last was "Outlaws in the Orient,'"' Marion
Davies' last was "Ever Since Eve," and
Genevieve Tobin's last was "The Duke
Comes Back."
Xan Gryalba, Palmerton, Penna. Here are the
addresses of some of the cowboys you men-
tion: Ken Maynard, Grand National Stu-
dios. Hollywood : Dick Foran, Warner
Bros.. Burbank, Cal., Gene Autry, Republic
Studios. Hollywood; Tim McCoy, Mono-
gram Studios, Hollywood ; Johnnie Mack
Brown, Universal Studios, Universal City.
Cal. and Buck Jones, Columbia Studio.
Hollywood.
Hazel Munson, Fort Bragg, Cal. Norma
Shearer was born in Montreal, Canada, Au-
gust 10, 1904. She is five feet one inch tall.-
weighs one hundred and fifteen pounds,
has brown hair and blue eyes. Douglas
Fairbanks. Jr. was born in New York City,
December 9, 1907. He is six feet tall, weighs
one hundred eighty pounds, has light
brown hair, and gray eyes.
.Sylvia Kevel, Brooklyn. N. Y. George San-
ders was born of English parents, in 1906. in
what was then St. Petersburg, Russia. He
has green-gray eyes, light brown hair, is six
feet three inches tall, and weighs two hun-
dred and fifteen pounds. He is a bachelor,
and is interested in science. His mo.st
recent pictures are "Love Is News," "Slave
Ship," and "Lancer Spy." Address him in
care of 20th Century-Fox Studios, Hollv-
wood.
BETWEEN YOU N' ME
(Continued from page 17)
which he gave a sincere performance as a
doctor. After that followed "Airmail,"
"Once to Every 'Woman," "Second Hand
Wife," and a few other good pictures.
Then for some unknown reason Holly-
wood lost interest in him. He was given
colorless stories, or miscast as a heavy.
Some times he played roles that were al-
most bits !
.A.nd now came the part of a dumb
cluck — and Ralph was once more recognized.
In fact, Hollywood liked him so well that
they gave him a somewhat similar role in
"Fools for Scandal." Are they going to
type him in this way, or have they finally
awakened to the fact that he would be big
box olfice if given half a chance?
I hope so. He fully deserves a break.
Xo other actor could have existed as long
as he has in such mediocre stories.
— Ruth King, Cranford, N. J.
$1.00 Prize Letter
Once Is Not Enough
This may sound like a foolish sugges-
tion, but I can't help wishing that every
city would dedicate one movie theatre to
our old favorites. Of course, once in a
great while an old favorite returns to a
neighborhood theatre, but that is so seldom.
We like to re-read certain books over
again and again. Why then must such
pictures as "Barretts of Wimpole Street,"
"Rose Marie," "Alaytime," "The Plains-
man," "Top Hat," and "The Prisoner of
Zenda" vanish, never to be seen again?
Hollywood has created masterpieces in
these pictures, and there is no reason why
they wouldn't be enjoyed ne.xt j'ear as well
as this.
— Margaret Cason, Chicago, 111.
$1.00 Prize Letter
A Southerner Speaks
I am a southerner and go to the cinema
to be amused, but every time a southern
character is portrayed on the screen I get
burned up !
Is there no one in Hollywood who has
been south? We do not say "yo yawl"
for "you all" nor do we address one person
as_ "you all." We do not say "suh" for
"sir," and talk as though we had marbles
in our mouths, or were suffering from
sleeping sickness. Of all the "southerners'"
I have seen on the screen, the women talk
like hound dogs whining.
I don't believe the producers are actually
that stupid. I think they do it to burlesque
the southerner. This thing might have
been funny the first, second, or third time,
but has grown stale now.
Remember there are bo.x offices down
south, too. If their patrons were not sucli
good sports to overlook these tasteless
blunders, the joke might not be on them.
— Fred Arnold, ^^icksburg, j\Iiss.
$1.00 Prize Letter
Connie's Back Again
At last she's human ! Suddenly taken
oft" her high horse by the role given to
her in "Topper" (which she did to perfec-
tion), our blonde star, Constance Bennett,
has aroused new interest in the hearts of
her once-admirers. I was getting very
bored with her high-hat ways !
-\ few more comedy roles like "Topper"
and "Merrily We Live" and Connie'll be
back on top wliere she belongs.
— D. Seibel, Chicago, 111.
MODERN SCREEN
THAT GIRL'S HERE
AGAIN!
(Continued from page 31)
doesn't talk for the love of hearing her
own voice. She says what she has to say,
and stops. , -rx j
I'd heard that she loathed Hollywood,
that she couldn't abide the screen, that
she'd moved heaven and earth to get back
to the stage. Yet here she was, not only
playing in a movie but sold down the river
under a long-term contract. I asked her
what it was all about. ^
Her answer came unhesitatmgly. My
early training was on the stage, and I loved
it very much. But I'd been in seven flops on
Broadway when the movies offered me a
job, I couldn't afford not to take it. I
didn't like it. If it had been paradise, 1
wouldn't have liked it. I didn't want para-
dise, I wanted the stage.
"Then various things happened, and for
the first time I was in a position to choose
a play without considering the money end.
Choose a play, mind you. Not beg for a
part. Not even just take a part^ so I could
eat. But choose a play for no other rea-
son than that I wanted to be in it.
"That was when I began . hating the
movies — not because they were the_ movies.
I felt they were a person, not a thing, and
I hated that person for keeping me from
doing what I wanted to_ do_. I'd hold
imaginary conversations with it, him, this
monster I'd conjured up. 'Well, then, kick
me out, why don't you? I never wanted to
come in the first place.'" A reflective
gleam lit her eye. "Sometimes the conver-
sations weren't imaginary."
How the difficulty was overcome she
didn't tell me, nor did I ask her. She re-
turned to Broadway to play in "Stage
Door."
It's not the fever of first nights nor
audience applause that lures her to the
theatre. What she finds most enthralling
are rehearsals. "There's something about
an empty theatre that's intensely dramatic.
I may get arty on you here, but I'll try
not to. It's the sense of working with
people to give a thing shape and meaning,
battling it, making it go the way you want
it to go. It's terrific labor and terrific ner-
vous strain. But it's exciting. Once the
scenery's up, that excitement goes. Then
you get the itch to go, too.
"Of course you don't go. You have a
run-of-the-play contract. I stayed for five
or six months, and left because of you-
know-what."
You-know-what is Brooke, the daughter
born to her and Leland Hayward, to whom
we'll return later.
BUT it wasn't that alone. I decided Cali-
fornia was where I wanted to live. I
was disappointed in New York. All the
time I'd been here before. New York had
been a fetish with me. 'I've got to get
back,' I'd rage. 'This is a horrible place to
live.' So many have had the same experi-
ence. Then when you do get back, New
York lets you down. You're irritated by
things you never noticed before, the dirt,
and the pace, and the clatter. If you want
to go down to the corner drugstore, you
have to put on a hat and gloves and powder
and lipstick and make a ceremonial of it.
I don't like ceremony. Slacks are more
comfortable. So I came back with my hus-
band.
"I'd always known that if I did come
back, and could get a job, I'd go into pic-
tures, because I can't imagine doing noth-
ing. That's the exact opposite of what I
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86
said 3'eslerday, when I told someone it was
my ambition to do nothing all day long.
And it is my ambition. I'm not trying to
be whimsical, and I can't explain it, unless
I'm lazy in theory but not in practice. Noth-
ing seems more alluring than the thought
of an empty day dangling somewhere out
of reach. But the minute I have nothing
to do, I go crazy.
"Besides, I never hated the movies as
movies. It was just that I had another
love, the stage, and now I've got the stage
out of my system — maybe." Her smile
mocked at herself. "When I first came
back, I never wanted to hear about an-
other play. Already that's beginning to
leave me. Already I'm beginning to say :
'I might go back for three months.' Also
I might not. W e have a baby now. We're
building a house. I've got myself hogtied.
And like it."
Her iTiother refuses to indulge in the
parental pastime of raving about the baby.
"I'd heard these awful stories about how
they look when they're born — wrinkled
and spotty, and their heads coming to a
point. Leland didn't like babies anyway,
and I was terrified for fear he'd never
look at her again if her head was pointed.
So I made him promise not to see her till
I'd seen her first. I don't know what the
idea was, whether I thought I could
smooth her head out, or what. However,
I didn't come to for hours, and he couldn't
wait. He thought she was all right," said
Mrs. Hayward in a masterpiece of under-
statement.
THE house they're building is compara-
tively small, but it's set in two acres of
ground to insure privacy. At the moment
they're wrestling with items like lighting
fixtures and door handles.
"Door handles ! That's what you get for
building a house. Before, there used to
be a handle, and you turned it. Now you
have to take courses in it."
They're also wrestling with the architect,
whose ideas are somewhat more orthodox
than their own.
"He wants us to have a dining-room,"
the perturbed mistress-to-be informs her
husband. "What for?"
"He thinks maybe fourteen years from
now we might want to have fourteen
people in to dinner."
"What is that?" she inquired on an-
other occasion, indicating a contraption
fixed to the curtain rods.
"To pull the curtains."
"But we don't pull curtains."
"You've got to pull curtains at night, or
people'll look in."
She burst into helpless giggles. "Look in
from where? That's why we got all this
ground, so people couldn't look in, and we
could look out."
She'd always wanted a_ glass door.
"Fine !" said the long-suffering architect.
"z\nd here comes someone Miss Sullavan
doesn't want to see. And there stands Miss
Sullavan, plain to behold, behind the nice
glass door. You can't say you're not in."
"/ can," declared Miss Sullavan firmly.
She can do other things, too, not pre-
scribed in the stars' book of etiquette. All
togged out in the creation of an ace de-
signer, she can curl up on a dusty box and
fall asleep. She can forget herself so com-
pletely in a game of tag with a soundman,
that she stumbles over a cable, breaking
her arm and breaking up a picture. She
can disregard the prodding of expert rib-
bers to come to work day after day in a
funny little knitted jacket, such as your
grandmother might have worn, because
she's conceived a childish attachment to it.
She can suppress a wild curiosity to see
her own rushes because she thinks she's
better off when she doesn't see them.
"Seeing them turns me into a millstone
'round my own neck. This part in 'Three
Comrades,' for instance — I love it. I want
so much to do it well. Leland bawled me
out for not seeing the rushes. He said it
was outrageous. 'You're just coddling
your vanity instead of taking advantage
of your mistakes,' said he. So one day I
disciplined my vanity and went, with the
result that I was downcast for three weeks.
It was awful. I didn't like the way I smiled
or said words. I remembered what I'd been
thinking and trying to do when I played
the scene. None of that seemed to come
through. I wanted to beg them to do it all
over again. I put my husband, who's also
my agent, through days of torture. 'You
were right,' he said, 'you should have
stayed away.' "
PRANK BORZAGE, her director, says,
"Margaret never used to worry about
working overtime. One day on this picture
I kept her after six, and it was a minor
tragedy. Suppose she didn't get home in
time to see the infant fed. 'Suppose the
heavens fall,' it sounded like. Nowadays
when I plan to use her at ten, I don't get
her in at nine. I can't stand her reproach-
ful eyes following me around the set, re-
minding me about all this wasted time she
might have been spending at home with the
kid.
"When we break, she scoots to her dress-
ing room, scoots out, hops into her car,
and zooms home. What's the rush? Leland
bought a Tyrolean rig for the child in New
York, and this is the big trying-on day.
That's the hit picture of the year, if you
ask me — Leland Hayward solemnly shop-
ping for a little cherub, and Maggie dash-
ing home to see how the cherub looks in
her new outfit. Even they think it's funny.
But how they love it!"
She, too, says she's changed. "I never had
a plan before. I kicked against plans. Now
I know this is what I really want. I like
being content — not too content — but more
so than I ever dreamed I would be." Her
smile glimmered again, half impish, half
wistful. "I was going to commit suicide at
thirty, now I'll wait till forty."
It was said not altogether fliply, nor al-
together seriously. She was voicing that
half-formed impulse, common to sensitive
youth when, through the mists of child-
hood, it glimpses a panorama of life and
death it's too young to cope with. She's
tasting the first good fruits of maturity.
She'll find that forty and fifty and sixty
have their compensations, too.
Margaret Sullavan enjoys a
dance with Frank Borzage, the
director of "Three Comrades."
' MODERN SCREEN
A MAN WITHOUT
FEAR
(Continued from page 33)
mariner Powell are lone wolves when they
put to sea.
By way of beginning I said, "Happy?"
Jimmy ordered chicken livers and rice,
and a pot of tea before he echoed, "Happy?
Sure, I'm always happy when I'm going
back to the farm. Right now I like every-
thing I'm doing. But then I always like
what I'm doing, or I don't do it for very-
long. Life's too short for that.
LAST time we were on the farm I trans-
planted twenty-eight trees, good hard
work, that, the kind of work I like. I like
the house we're building at Cold Water
Canyon in Bevery Hills, too. It's a six
room house. That's one of the reasons
we're building it, because we like small
houses. The farmhouse in the East has
just six rooms. That's enough for any,
man and his wife.
"Sure, I'm happy. I'd say that my defi-
nition of happiness is being without fear.
Fear can eat the vitals out of anyone.
When a fellow has to keep a job he hates,
or work for a boss he hates, because the
alternative is starvation, that's slavery. I
hate slavery in any form." He has proven
that. Jimmy has always dared to quit.
I said, "Being without fear is a form of
self-confidence, isn't it? How did you
get this way?"
"When things have been tough for a
kid," said Jimmy, "he's never afraid again.
I've had so many jobs in my time, and I
got 'em all on nerve. When they'd ask me,
back in the days when I was first on the
stage, 'Can you sing?' I couldn't sing, but
I'd answer, 'Sure.' When they'd ask me,
'Can you dance?' I couldn't, but the answer
was the same, 'Sure.' 'Can you do dra-
matic stufif?' Same answer, 'Sure.' So it
went. I'd get by with it, too. The same
holds good of any job. Just say, 'Sure,'
and mean it, and you'll get by. At least,
you won't be any worse off than you were
before."
"But now," I said, "now that you aren't
a 'kid' any longer ?"
"Same still holds good," said Jimmy. "If,
at any moment the movies should shake a
day-day at me, I 'know exactly what I'd
do, got it all planned out. I'd form a re-
pertory company, and tour the country.
Matter of fact, Pat O'Brien, Frank Mc-
Hugh, Allen Jenkins and I have plans for
such a company all doped out right now.
We know just what we'd do, and how.
May do it anyway, whether I'm in pictures
or not.
"I can't have any fear," grinned Jimmy,
"or I'd have taken myself out of Holly-
wood on the first train that left after
mine came in, eight years ago. There
wasn't anyone in pictures who looked like
me. Where did I get off, and why had I
gotten off at Hollywood? Those were the
days when Valentino was still hot in peo-
ples' hearts and memories. Those were
the days when Buddy Rogers, and Charlie
Farrell, and Gary Cooper were the tops.
Now where did the Cagney pan fit into that
art gallery? But I stayed on. They said,
'Can you be a movie star?' And I said,
'Sure,' and here I am, still the boy meet-
ing the girl."
"But why did you say 'sure' to Holly-
wood?" I persisted. "'What made you
sure ? What did you think you had to 'sell'
to the movies ?"
Jimmy has a habit of answering ques-
tions by telling you little anecdotes. He
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88
said, "I was looking at one of my first
pictures one day with my then leading
lady. I said to her, as I looked at myself,
'That guy's nuts. I look a little iDit crazy.'
The lady said, 'When I watch myself there's
nothing going on!' (She is still 'going on,'
too, however.) Anyway, maybe that's the
answer where I'm concerned. I look
nuts. There's something that people like
about a guy who looks a little bit crazy.
They never know which way he's going to
jump, whether he'll turn out to be a
poached egg or Napoleon. I guess," said
Jimmy, thoughtfully, "that my other sell-
ing point would be titled, 'pugnacity.' I
look the kind of a guy who's just about to
pick a fight."
I remembered then Mae West's famous
pronouncement, that of all the men in
Hollywood Jimmy Cagney has the most sex
appeal for her money. I recalled that some-
one else — Joan Crawford, wasn't it? — said
that Jimmy's sex appeal is due to the fact
that he always looks as though he is about
to spring. As if taking a cue, just as I
was thinking these torrid thoughts, Marie
Wilson, who plays the girl to his boy in
"Boy Meets Girl," passed our table, paused
to give Jimmy a large hug, and exclaimed,
"Every chance I get !" then ran off, rather
breathless and noticeably blushing. Jimmy
remained smiling, but unperturbed. Later
the girls in his studio's publicity depart-
ment told me that every girl and woman
on the lot is "crazy about Cagney," that
they've never "seen anything like it."
No, he doesn't look like Valentino did,
dear knows. He doesn't look like Robert
Taylor, Tyrone Power, Clark Gable, or
Errol Flynn. But he does look danger-
ous, in his quiet way. He does look un-
predictable. He does look imperturbable.
He does hold a challenge. It probably has
something to do with the way he stands,
this sex appeal of Jimmy's, for he stands as
a fighter stands, his arms slightly bowed,
his hands drawn up in front of him.
Jimmy demonstrated for me that it's really
difficult for him to straighten his arms
out. Too many boxing matches have given
them that pugilistic curve.
IF you will notice, there is also some-
thing about the back of his neck. His
wife once told me that a woman said to
her, "Do you know what I find most at-
tractive about your husband?" "What?"
asked Mrs. C. "The back of his neck,"
replied the admirer. "There's something
so purposeful about it." There's something
unusual about the set of his head, too.
Something about it suggests a battering
ram.
Perhaps little Marie Wilson expressed
it most aptly when she said, "He looks
as though he's going somewhere, and you
wonder whether he'll take you with him,
or leave you behind."
He appears to be ungettable, this Jimmy.
Yet, a fact little known is that a great
many people come to Jimmy with their
troubles and problems. He could be called
The Little Father Confessor of Hollywood,
and deserve the title. (But how he would
hate it ! For Jimmy, a sentimentalist in
his heart, detests any of the outward and
visible signs of sentimentality.)
Jimmy lives, and lets live too. Now,
take his married life, one of the hap-
piest, soundest, and most successful of all
the Hollywood marriages. You never hear
anything about it. You never hear "ru-
mors." You never see Jimmy with anyone
but Billie, his Missus, or with his brother
Bill, or some of the boys.
For Jimmy and his Billie do really
live and let live. And they go their own
ways, when they feel like it, which isn't
often.
Occasionally Jimmy invites to the house
people in whom Billie is not especially in-
terested. But that's all right. Billie just
Warren William, Robert Mont-
gomery and Virginia Bruce
seem all set to disagree.
goes out. She goes to a show, or plays
bridge, or drives around until the gang
is gone. Sometimes Billie may invite
people for whom Jimmy doesn't particu-
larly care. That's all right, too. He just
goes out with some of the fellows, goes
to the fights, to a show, or just drives
around until he sees that the downstairs
lights are off. Then he goes home. But
for the most part their friends are mutual
friends, the O'Briens, the Tracys, the Mc-
Hughs, and the Jenkinses, the wives as
clubby as the husbands.
There are no naggings, no orders given,
no coercions in the Cagney household.
"Marriage," says Jimmy, "can be a form
of slavery, too. Ours isn't. Billie doesn't
make a slave of me, nor I of her. There's
no jealousy. When we were in show
business together a few years ago one of
the girls asked Billie if she didn't worry
about me, always playing with a bunch of
beautifuls. Billie said 'No. What good
would it do me to worry?' It wouldn't do
her any good. And she hasn't any reason.
We both know that it's a lot of bunk, all
the she-she in this business. She knows
that I know it. We both know that when
it's all over, when the curtain rings down
I won't be of any more interest to people
than Mr. Smith of Punkin Center is to-
day.
"We both like to stay home. We sit
around and gab about the farm, and about
the new place here in Beverly Hills. Billie
takes care of all the dorriestic shenanigans,
the furnishings, the servant problems, if
any, the planning of meals, etc. I'm not
fussy about my food. There are too many
important things in life to be finicky about
whether you're eating cake or pie. I think
I take enough interest in the house to be
companionable. I like to fool around ar-
ranging furniture. I'm the one who says
where to hang the antlers in the den ! I
take an interest in what Billie wears — isn't
that supposed to be a goodly thing in hus-
bands ? Especially hats ! I'm hat con-
scious. Oh, am I hat conscious ! I hate
conspicuous clothes, too much make-up,
red nail polish. But especially the wrong
kind of hats. Before I was married I'd
ask girls for dates, and if they showed up
wearing some squirrelly thing that dipped
over sidewise, like the prow of a ship in
distress — well, I'd dip out. If Billie wanted
to buy one of those things, sometimes
called hats, she'd buy one. I wouldn't say
anything, and she knows it. But she
doesn't buy 'em.
"I always go over my scripts with Billie.
Like all actors I try out the business on
the wife. Pat does the same with Eloise.
Allen with Mary. We all do. I act out
a bit of business with Billie and she'll say
'I think that's swell,' or 'I think that's
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PUGNACIOUS, yes. Imperturbable, yes.
But there's another side to Cagney. And
he shows that side in the things he notices.
He betrays an almost feminine sensibility
to the things which effect others. He
told me about a party at the home of
Allen Jenkins, for instance. And how
Allen just up and blurted out the care-
fully kept secret of the Jenkins' Blessed
Event, blurted it out because he just
couldn't keep it in one more proud moment.
Jimmy told me about the look on Allen's
face, that hard-boiled screen face, when he
spoke of the baby to come.
He told me about young Phil Regan,
the "Singing Policeman," the young actor
you saw in "Stars Over Broadway," "Go
Into Your Dance," and so many others.
Jimmy said, "that kid has worked ever
since he could walk. Father was a truck
driver. The kid had job after job after
job, any kind of job. When he came to
Hollywood he didn't tell anyone he was
married, thought it better business not
to. He always spoke of Jo as "my girl."
But he always spoke of her. I found out
that he'd been married at seventeen, that
they'd had one kid, then another, then an-
other, until they now have four. And
when I found that out my respect for him
went up one hundred per cent, and higher."
Yes, these are the kind of things Jimmy
notices, the break in a man's voice when
he mentions a baby, and the sturdy courage
of a man who works for the wife and kids,
gives 'em the best he's got of love and
loyalty.
No, Jimmy hasn't changed. He'll never
change, let contracts come or go, govern-
ments rise or fall. He'll never be afraid,
either, not for himself. And he'll never
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go — because Jimmy has a sense, deep in
his Irish heart, of the tragedy of life.
There is nothing you can do to him, per-
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there are many things you can do to your-
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idealist call that? A sort of sense of the
brotherhood-of-man ?
Betty Compson out with two
sailors? No, it's just Milburn
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WRECKING THOSE RUMORS
(ConHnued from page 37)
is all right," said Sonja, dismissing the
subject, "if all you want is romancing."
Further proof that Sonja isn't nursing
a broken heart is that, while romance
rumors seem only to bore or amuse her
(you get the feeling that the Tyrone Pow-
er romance is ancient history to her), there
is another set of rumors about which she
feels very differently — the rumors that she
has gone temperamental and high-hat.
When she answered questions about ro-
mance she was a little reserved, but when
she swung into her own defense, she became
warm and animated. Her vivid brown eyes,
that contrast so oddly with her blond
hair, flashed, and she went directly and
simply to the point.
T^HOUGH she laughed about them,
she was very much hurt by the cruel
and silly stories that circulated during her
stay at Miami, where she gave a skating
exhibition. As the New York newspapers
had made a target of Robert Taylor just
before he sailed for England, so the Flor-
ida newspapers made a target of Sonja
Henie. It all arose through a series of mis-
understandings— through stories -that had a
bit of truth, but were mostly pure fiction.
"When I arrived in Florida," said
Sonja, "I found that I was booked for
all sorts of affairs, and that every min-
ute of the day was mapped out for me.
Every time I opened a newspaper I would
find a new announcement that Sonja Henie
was going to _ appear at some affair.
Often, the first indication I had that I was
expected to attend was the appearance of
an advertisement in some newspaper. But I
knew that if I stayed away from any of
these afifairs, after the newspapers had an-
nounced that I'd be there, the public, not
knowing the circumstances, would think I
was becoming temperamental. So I went
through with everything that had been ar-
ranged for me.
"For example, when I saw the announce-
ment that I would appear at a certain
swimming exhibition, I was panicky, for
I had another appointment which conflicted
with the time set for this exhibition. T
couldn't possibly stay very long,' I told
the people who were managing it, 'for I've
got to keep this other appointment.' They
told me it would be perfectly all right if
I stayed only five minutes, and then left.
Instead, I remained an hour and a half,
which was all the time I dared take, and
then went on to my other appointment. The
next day the newspapers criticized me for
being so blase that I couldn't sit through
the exhibition.
"One day at the beach someone asked me
if I wouldn't like to see the horse races at
Hialeah that afternoon.
"Since I was wearing only white slacks
and a white coat, and had no time to
change, I asked if it was all right to appear
at the clubhouse like that, and was as-
sured it would be. Since you can go almost
anywhere in slacks in Hollywood, I gave
it no further thought.
"Even when we were stopped at the
clubhouse, I thought it was because we
didn't have any tickets, and that my com-
panion had gone to make arrangements.
"When I learned that my slacks were the
real reason we had been stopped I was very
uncomfortable, for I didn't want to violate
the rules of the place. I decided to sit
down as inconspicuously as possible, hop-
ing that my white coat would hide the
slacks. But while I was sitting there, word
came that the governor of Florida wanted
to meet me.''
Sonja Henie turned miserably to her
companion. If she went down in her slacks
to meet the governor, she would have to
pass thousands of people, all of whom
would notice her informal attire, and pos-
sibly criticize her as an exhibitionist.
"Please," she begged, "tell the governor
why I cannot go down to meet him. Please
explain to him about the slacks."
The next day the newspapers said,
"Sonja Henie refused to leave her seat at
the races to meet the governor. She said,
'Why should I go down to meet him? I
am just as important as he is. Let him
come up to meet me.' "
Another story which circulated about
Sonja was that a group of youngsters had
thrown snowballs at her. The insinuation
was that Sonja had made herself disagree-
able to them. The truth is very different.
On the first day of Sonja Henie's exhi-
bition, a group of youngsters who had never
seen snow or ice before went up to the
rink just as the exhibition ended.
"I saw one of the youngsters edging to-
ward the artificial ice," Sonja told me, "and
I knew right away what was going to
happen. I said 'Goodbye' very hastily, and
went straight home.
"The youngsters began to throw snow-
balls at each other, and before long they
were involved in a regular snow fight.
Trying to stop the fight, one of the work-
men threw a snowball at one of the boys.
In revenge, they grabbed the doll house
from which I had made my entrance in the
'Toyland' scene of my ice ballet, and be-
gan tearing it to pieces.
"The next day the newspapers said that
the boys had thrown snowballs at me, but
I was, of course, safely home when it
happened."
r\ISMAYED by the unfavorable pub-
'-^ licity she had received, and growing
weary of having every minute of the day
charted out for her, Sonja hinted to some-
one connected with her troupe that she
would prefer not to have a press agent
follow her around all the time. No doubt
this was undiplomatic of her. Someone
older and less sincere than Sonja might
have found a subtle way of handling the
situation, but Sonja is nothing if not di-
rect. Her honesty is her greatest fault,
and^ her greatest charm. After the Florida
exhibitions were over, the press agent wrote
a vitriolic open letter to Sonja Henie,
which was published in a newspaper.
"Her letter was very funny," said Sonja,
but there was a hurt look in her brown
eyes as she spoke. I later learned that the
press agent from Sonja's own studio sim-
ply adores her, and finds her the most co-
operative star imaginable.
Laughingly, Sonja denied some of the
other rumors about herself. There is, for
instance, the persistent story that she' has
"lucky boots" which she always wears.
Hollywood even said that when Ro\-er de-
signed a set' of gorgeous costumes for her
first picture, "One In a Million," she told
him regretfully that she could not wear
them because they would not go with
"lucky boots" which she wears at all im-
portant events in her life.
"There are no 'lucky boots,' " said Sonja.
"I change to new boots every five months,
regularly."
Then there was the story that in "Happy
Landing" she wore a beaded cap, beaded
bodice, and embroidered skirt three hun-
dred years old, which had been in her fam-
ily all that time, having been passed down
as part of a girl's dowry from one gener-
MODERN SCREEN
ation to another. According to the story,
when Sonja Henie's mother heard that
she needed such a costume for her picture,
she made the supreme sacrifice of giving
it to her daughter. Sonja chuckled mer-
rily.
"How could I wear a dress three hun-
dred years old? The silk would all be torn,
wouldn't it?"
But, oddly enough, the story that the most
exciting ice skater of our generation has
never been on roller skates is true. Sonja
is still as modest about her acting as ever.
"I do not act," she says. "When you
try too hard you are not natural."
Now that she is on top, Sonja has no
desire to tell the studio how to handle her.
When asked what kind of pictures she
would like to make she said, "Just the
kind I have been making. Of course, it
would be nice if they would film a skating
picture in technicolor. But no matter
what they do, I shall keep on giving skat-
ing exhibitions between pictures."
SONJA added modestly, "I do not think
that at first the studio liked my making
personal appearances. Perhaps they were
afraid I wouldn't look just right, for many
people at the studio had never seen me
give a skating exhibition, and didn't know
what to expect."
Sonja's studio knows now that they need
have no fears about her, for the magnifi-
cent little lady of the skates will always
acquit herself be;\utifully in anything she
tries. Her tour set a new record for re-
peated triumphs. No other sports figure
ever played to such packed houses as
greeted Sonja Henie everywhere she per-
formed.
Yet Sonja is as natural and unspoiled
as the day she landed in America. Though
she has given command performances be-
fore King George and Queen Mary of
England, before Mussolini, ex-Crown
Prince Friedrich Wilhelm of Germany,
and King Haakon VH and Queen Maude
of Norway, she has none of the airs and
ridiculous posturings that you so often see
in girls with not one hundredth of her
claim to fame.
In the middle of our talk, she had turned
to me, with that appealing directnesss of
hers, and asked, "Am I bad copy ? Someone
told me I was bad copy."
Here she was, a world figure, the queen
of ice skating, and a sensational success in
pictures, and she was worried because
someone had told her she was "bad copy."
She has the simplicity of the truly great.
"No, I will never change," said Sonja.
"I know that fame means very little and
goes very quickly."
For some people, fame does go quickly.
But not for the Sonja Henies of the world,
who wear their crowns, their glories, and
their triumphs with such disarming mod-
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92
FAREWELL TO FRANCIS
{Continued from page 41)
cream on my face, a pretty sight. My
door was locked, but reporters and photog-
raphers broke it open, and there I was !
"I told them," chuckled Kay, with relish,
"that I was a strong girl who made a
twelve-second mark for the one hundred
yard dash in school, and that I 'would be
likely to break their cameras over their
heads if they dared take any pictures.
They didn't, though one lad observed that
there were some ladies who liked 'being
photographed in pajamas!' There simply
is no privacy for a star.
"I loathe trying to live up to slogans,
and I just won't do it. "The Screen's
Most Beautiful Siren,' 'The Screen's
Glamor Girl,' 'The Best Dressed Wom-
an in Hollywood,' things like that. Ab-
surd. Fantastic. Untrue. And very uncom-
fortable when they are pinned to you.
"I abhor having to show ofif. I detest
sycophants. I avoid gossips as I would
the plague. And this business is ridden
with all three pestilences. I hate all the
attention a star is supposed to give her
precious self. I do nothing in particular
to keep physically 'fit.' I do not diet.
I have no beauty secrets. I wash my
face with soap and water when it needs
washing, and let it go at that. I don't
know yet what is meant by 'glamor.' I'll
be so glad when September comes, and I
won't have to worry about what others
think I should or should not do about my-
self. I want to get fat," declared Kay
with feeling. "I want to do nothing. I
want to sit on my back porch, in a rocker,
and not even think. I can't imagine any-
thing more divine than stepping of? a gang-
plank one of these days, and looking down
into a sea of faces to find them all staring
blankly away from me, disinterested.
'T^HIS business of being a star is really
A spoiling my disposition," sighed Kay.
"I used to have a fairly placid temper,
but now I lose it every now and then.
The strain is too much for my lazy na-
ture. A star is expected to be a social
entertainer, besides being an actress. They
bring everyone from royalty to Shirley
Temple's French 'double' onto the set
while a star is working. They bring on
the Army, the Navy, football players,
basketball players, baseball players — and
the star is expected to stop in the middle
of a scene, and be gracious to the visitors.
They bring on newspaper men, who may
grill you for being 'temperamental,' if you
refuse to meet them, and will almost cer-
tainly grill you for 'slipping' if you do
a few bad scenes as a result of the inter-
ruptions. Either way you lose.
"I guess I'm just not an exhibitionist,"
said Kay. "I not only do not enjoy see-
ing myself on the screen, but I don't even
see myself any more when I look in the
mirror at home. Even the pleasures of a
woman's vanity, the fun of 'prinking' are
mine no longer. It has all become mechani-
cal, impersonal, and boring. I look in the
mirror, and I know there's a face there.
And it's probably mine. I know that I
must go through the motions of pulling it
together, and I do, but I have no personal
pleasure or interest in the process.
"I've only seen one shot of myself on
the screen that I really thought beautiful.
And even that was more a matter of
lighting than of my face. It was a close-
up in 'One Way Passage,' the picture Bill
Powell and I did together a few years ago.
It was beautiful because Bob Kurle, the
cameraman, (he's dead now, poor dear)
took so much time and trouble shifting his
camera fifty different ways, experimenting
with light and shadow. When I saw that,
I felt the one pang of pure pleasure I've
ever experienced when I've looked at my-
self on the screen.
"Usually I'm afraid to look. When I go
to previews of my own pictures I feel
like cowering in my chair like a kid
afraid of a bogey-man. I'm afraid that
I'll see myself walking with a slouch,
or that I'll see a run in my stocking, or
my clip won't be on straight, or that I'll
be running my hand through my hair, or
a dozen and one other things.
T KNOW that I've got one special qual-
ity to 'sell' on the screen, as most of
us have. The fans expect sincerity from
me, a certain warmth and 'sympatica.'
And if they don't get it they howl. They
didn't like me in 'First Lady' worth a cent.
They told me so, by the hundreds. They
don't want me to be flibberty-gibbetty.
And so there is the strain of being sure
I have the right character to play. Of
course, that's every star's major problem.
But it's too major for my shoulders."
And Kay wiggled her's as though shaking
off the too-heavy burden of stardom.
"I wonder," I said, "whether you'll be
able to stand the let-down when the tempo
of your life changes, for a star's life is a
feverish one, with phones ringing inces-
santly, conferences, interviews, stories to
be read. What will you do with yourself?"
" 'Let-down,' what a lovely word,"
laughed Kay, "lovely and laz}^" And
she laughed again, so happily, so con-
vincingly that there was not even a wisp
of doubt in my mind but what Kay is,
indeed, saying goodbye.
"There are so many things I want to do,"
she said. "So much blessed doing-noth-
ing to catch up with. I won't have 'stories
to read,' no, but I can read Hemingway,
and Schnitzler, and my 'moider' mysteries
in peace. I've always run my own house,
pretty competently, if I do say so, but now
I'll have time to fool around with the
linens, and rearrange the books, and do
things with flowers.
"You know," said Kay, "I am the
laziest woman in the world. Really.
I agree with Alice Brady when she says
never to stand up if you can sit down,
never to sit down if you can lie down."
I tried to switch around to the subject
of love, by asking Kay if she is romantic.
I reminded her that psychologists say
people who marry more than once are ro-
mantics, or they wouldn't. Kay evaded.
She saw through my little ruse. She
grinned and said. "I know what you want
me to say, that I'm 'forever blowing bub-
bles,' or 'looking for the rainbow,' or
something. I'd much rather talk about
being lazy. I am energetic when there's
a job to do, I'll say that. I attack
it with what is known as vim and vigor.
I go to bed every night at nine o'clock. I
accept almost no social engagements,
allow nothing to interfere. But I hate it.
I force myself to work. I should have
been born in a harem," said Ka}^ luxuri-
ously, "with slaves to wait on me, even
to feed me. Never to raise my little finger
again is m^' idea of heaven."
"But," I gasped, "won't you miss any-
thing of all this, anything at all?"
"Yes," said Ka)^ and now she was not
laughing. "Yes, I'll miss my crew. I'll
miss the boys and girls who have been
with me on so many pictures, the props,
and carpenters, and electricians, my hair-
dresser, my script girl, all of the people
MODERN SCREEN
who have been my very good friends. 1 11
miss them terribly. Perhaps such good-
byes would be too painful, if I did not
know that I shall see them all again, here
in Hollywood. As for my friends among
the players, naturally, I'll keep on seeing
them, perhaps more often than I do now.
But I can't," said Kay, her eyes seemmg
to look backward now over the nine bright
years of her stardom, remembering all the
fame and flattery, the tangible rewards,
the achievement and acclaim, the glitter
and the glory, taking stock of it, and find-
ing it somehow wanting, "I can't," she
repeated, "think of any other thing I'll
miss. Not one thing."
The woman was saying good-bye to
the star. It is we who are left who will
have the regrets when, in September, Kay
Francis bids us goodbye.
DON AMECHE'S
SECRET
HAPPINESS
(Continued from page 39)
it's quiet, can't go to bed before one or two
in the morning, because I'm too keyed up
to sleep. It's not exactly soothing syrup,
working in pictures.
"And if," he said gravely, "if I did not
feel my work to be a vocation, a doing-for-
others, as well as for myself, I'd often crack
up in the middle of a picture, and just tell
them to take it away. There are tremen-
dous compensations and rewards, of course.
The money is important, naturally. I
know that we couldn't make this money in
any other way. But even the money
wouldn't keep me going if I didn't believe
that what I'm doing really matters.
"I get letters from shut-ins, from chil-
dren who are crippled, from the blind,
telling me how they love our program on
the air. I get letters from the old, who
tell me that, as they watch pictures, they
live their lives over again, find their lost
youth, and the dreams that, for them, never
did come true. I get letters from married
couples telling me how they were on the
edge of a nasty battle, then went to a
movie, and, when they came out of it, for-
got what they were going to fight about.
THE great majority of letters I get are
just this kind, from the sick, the dis-
couraged, from those who would have no
life at all unless we gave it to them. Out
of some 2500 letters, I daresay, there will
be only ten which could be classified as
'mash' notes. Why, if it were not for these
other letters I wouldn't keep on. I couldn't.
"Because," said Don, "they confirm my
belief that entertainment is as necessary as
food and drink. There has always been
entertainment, of one kind or another, since
the world began. There always will be
entertainment, because it is an absolute
necessity of life. And if I couldn't feel
that I am helping to provide one of the ab-
solute necessities I'd feel unnecessary, and
that's a very bad state of affairs. Enter-
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have not forgotten how to laugh. Think of
the fun and the forgetting Jack Benny and
Mary, Burns and Allen, Harold Lloyd, all
of them, give to others. Why, the writers
of detective novels and 'moider' mysteries
are benefactors. The makers of games and
toys, the cartoonists, all are great human-
itarians, whether they know it or not. And
when the final rewards are handed out,
ni bet that the down will be there right
beside the philosopher.
"I haven't any ambition to make pictures
that are 'artistic successes.' I don't want
to play in Shakespeare. I don't care wheth-
er I make "B" pictures, or "A," or "Z,"
so long as I play in pictures that have the
greatest appeal for the greatest number of
people. So T can't be disillusioned about
my work," smiled Don, "as long as I feel
that I'm giving illusion to others."
I'd never heard the likes of this, but 1
carried on, and tried again. I said, "How
about Hollywood? Hollywood is said to
have disillusioned many a strong man,
broken many a stout heart?"
"No," said Don emphatically, and he can
be very emphatic indeed. "No. I had
my notions too about Hollywood, before I
came here. Everyone has notions about
Hollywood, I'm sure, what with all they
hear and read about it. I wondered about
this 'playing politics' I'd heard so much
about. That didn't sound too good. I'm
not a politician. I can't say what I don't
mean. I can't scheme and manoeuvre. But
I haven't had to. I wondered about the
publicity. I wondered about the so-called
'temptations.' "
I said,' thinking of all the lithesome beau-
ties I'd seen Don working with, "But how
do you keep your feet so squarely on the
ground,^ for there must be plenty of temp-
tations in Hollywood. What is the anchor
to windward? Your happy marriage, I
suppose ?"
"Yes. And my religion," said Don.
He went on, "And so I wondered about
all this talk of having to do the 'right
things' in Hollywood, if you want to make
the grade. Doing the 'right things' seemed
to consist in having a palatial estate, giving
huge, swank parties, having 'glamor,' even
though married, spending money drunkenly.
I didn't see where Honore and I, with all
of our obligations, would fit into such a
pattern. I wondered, too, how people
would treat me. an outsider, a newcomer
into what I'd heard was a furiously com-
petitive business. I'd read that foreign im-
portations were not exactly given the fatted
calf. And while I could not be considered
a 'foreign importation' (saving my Italian
blood) I was certainly an outsider.
"Well," said Don vigorously, "I've
never been an outsider. Not for one single
instant. From the very moment I stepped
foot on the lot I was made to feel wel-
come, as much one of the family as any
of the old-timers are. It may sound all
sweetness and light to say that every one
from the producer down was simplv iwtW
to me, still are simply swell to me. But
I ^ can't help how it sounds. If anything,
it's an understatement of fact.
"Honestly, I don't know what people
mean when they speak about the 'hard
heart of Hollywood.' It's a big country,
this _ California, it's a big industry, this
rtiovie business, and the people in it are
big, too, big of heart and generous of spirit.
I mean every word I say. I'm not theoriz-
ing. I can give you facts.
"Take Tyrone Power and me, for in-
stance._ Tyrone and I should certainly be
rivals if any two men in this business would
be. We are on the same lot. We are
often tested for the same role in a picture.
Sometimes Ty gets it, sometimes I do.
But we never get out our Boy Scout knives,
whichever way it falls. We play together,
our parts fairly comparable in importance^
as in "In Old Chicago," and now in "Alex-
ander's Ragtime Band." Yet I feel noth-
ing but friendliness for Tyrone. I'd do
anything I could to help if he needed help.
I know that he'd do the same for me. We
often give each other 'tips,' we think might
help one another's performance. We clown
together on the set, lunch together, play
golf together. We are friends.
T DON'T mean," laughed Don, "that we
all are too good to be true, like angels in
Arcadia. Certainly not. It's our business
to look out for ourselves, and we do. But
I mean that we are not forever going about
with knives in our make-up kits, just wait-
ing for a fellow actor's back to be turned.
You often read that an actor has 'stepped
out of a picture' because he didn't get as
good a part as some other fellow. The
chances are that if you could read the script,
you would know why the actor had stepped
oiit. A million to one it had nothing to do
with the other actor.
"Bill Powell," said Don, suddenly, and
when he said it he sounded like a 'small,
earthbound boy speaking of a Lindbergh,
"Bill Powell is one of my screen idols. If
I'm a hero-worshipper at all, and I guess
I am, then I hero-worship Bill, Ronald
Colman and Spencer Tracy, among others.
Well, one night not long ago, I was intro-
duced to Bill at a restaurant in Beverly
Hills. We both had stopped in for a cup
of cofifee after work. We started to talk,
and we sat there the whole night through'
just talking. We talked about our kids'.
Bill told me his ideas about bringing up
his son. _ I told him what Honore and I try
to do with our boys. Now, there's no rea-
son why Bill Powell should take an in-
terest in me. There's nothing I've got
that he wants. But the point is that Bill
did take an interest in me. And the bigger
point is that that's Hollywood, friendly In-
terest, not rivalry, a pat on the back^ not
a knife, I left Bill that dawning with more
respect for him than I'd ever thought pos-
sible. I found him to be just as witty, and
charming, and polished, and real as I'd
thought he would be. Disillusioned?" Don
th rew back his dark head and laughed,
"I'll say I'm not !"
"Jack Benny and Mary are among our
best friends out here. And I mean friends.
Do you know what Jack did a few weeks
ago, when I was ill? He drove out to
see me one Sunday morning, a drive of
some thirty miles from his house in Bev-
erly Hills to our place in tlie San Fer-
nando \'alley. When he got there I was
asleep, and Honore had gone to church. He
wouldn't let Annie or Irene, the girls who
work with us, disturb me. He said 'I'll
MODERN SCREEN
just sit in the parlor and wait.' And that's
just what he did, for an hour. Then he
strolled into the kitchen, asked if he could
have a cup of coffee, and sat there at the
kitchen table, drinking it. When I finally
woke up, an hour and a half later, he came
up and sat with me for another hour, and
then drove home again. Now, the thing is
that Jack had two radio broadcasts to do
that day, his own, and a guest appearance
he was making. He was also leaving for
New York early the next morning. But
he took all that time to come out and see
me, because he is a friend.
THEN," Don went on, "Jack and Mary,
George Burns and Gracie, Lum, of Lum
and Abner, and his wife, Harriet, Honey
and I, we're all so happily married that we
all go places together, talk about our homes
and our kids, and are as plain folksy as
old shoes. Take Bing and Dixie, and
their well-known four boys, or Eloise and
Pat O'Brien. They certainly don't hide
their family life under any bushel of glam-
or, and certainly it doesn't decrease their
popularity. I've never known people to
care so much for children as the folks in
Hollywood do. The bigger they are, the
more precious they seem to find that 'pat-
ter of little feet.' If they haven't children
of their own they take children into their
hearts and homes, which seems to me to
be the height of unselfishness. Hard-
hearted, you say?
"Just the other day," said Don, "one of
the carpenters on the set died. It was dis-
covered that he had left a widow and
seven children. Immediately a collection
was taken up, with everyone from the direc-
tor to the prop boys contributing. There
was enough money collected on the set to
buy a lot out in the Valley. Then the
carpenters and the electricians offered their
spare time (for nothing) to build a house
on that lot. The result is that soon the
widow and her seven children will have a
house and lot, all free and clear, thanks to
'hard-hearted Hollywood.'
"Nothing," said Don, "nothing that has
ever happened to me has had the power to
disillusion me. You really can say that I
still believe in Santa Glaus, and you won't
be so far wrong at that!"
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FIGURE IT OUT THIS WAY
{Continued jrom page 43)
around doing brisk, tissue-busting exer-
cise, when what you need is slow, muscle-
strengthening exercise. See what I mean?
All right, then. Here are two good gen-
eral exercises, all-purpose streamliners
which are not difficult. They "get you" at
waistline, abdomen and hip, the three spots
most popular with fatty tissue.
Lie your little self down on the floor,
on your back. Flex the left knee. Bring
it up to a right angle, and at the same time
twist your body at the waist, and bring
the left knee over the right leg. Touch your
left knee to the floor. Keep your right leg
straight, and, most important of all, try to
keep your upper body flat on the floor.
Reverse the procedure. Repeat five times'
with each knee for a starter. Work up to
two dozen times. You won't be able to
keep your upper body flat at first, but it's
the trying that does the good work. When
you begin doing this exercise, have your
arms over your head, in relaxed position.
Later, bring your arms down to shoulder
level, bending them at the elbows. This
is harder. Do the whole thing slowly.
Another general exercise : lie on your
left side on the floor, the under arm ex-
tended, the other bracing your body. Legs
together. Then swing the legs vigorously
in a scissor kick, as wide apart as possible,
and bring them together again. Do this
five times on your left side, then turn over
on .your right side, and repeat. Work up
to twenty times.
Both these exercises are more for the
girl who wants to keep in trim than for the
really bulgy miss who needs to correct
figure faults.
Here are three exercises which combine
good results for posture, gracefulness and
a supple body. Do one or all if you stand
badly, or are awkward and ill at ease
when dancing. The first one isn't so much
of an exercise as a check-up on posture,
especially helpful to those of you who
think you're too large behind, but who
are really a wee touch sway-backed.
CTAND, in few clothes, or none, side-
^ wise in front of your mirror. Stand
the best way you know how. Now, imagine
that there are four dots on your body:
one each on shoulder bone, hip bone, knee
joint and ankle. These four dots should
be in a straight line. Are they? If the
hip dot is too far forward, you're sagging
out in front and your bust line is going
to blazes, too. If the hip dot is too far
back, that's an indication of sway-back.
Tuck your buttocks under, turn the pelvic
bones out, tense the muscles of your thighs.
Your chest automatically comes up, so
does your head. Every time you get a
chance at a full length mirror, check up
and see if the four dots are in place.
Here is an original exercise for grace
and suppleness. The French star, Danielle
Darrieux, who, gawd knows, has no figure
troubles at all, contributes this. She does it
for ten minutes a day, just to keep limber.
Kneel on the right knee, and extend the
left leg back, and to the side, as straight
as you can. Reach as far as you can with
the left foot. Place the right hand firmly
on the floor, arm stiff. Flop your upper
body over, limp and relaxed as you can,
left arm svyung across your chest. Now
slowly, as if you were dragging a great
weight, bring your left arm and your body
and your head up and back. Return to
original position and repeat ten times. Re-
verse. You can do this exercise vigorous-
ly, also flinging your arm, head and torso
up and back. But do it slowly at first.
Here's one which is kind of fun. It's
very good for balance and posture, and ser-
viceable at keeping hips trim, too. Place a
matchbo.x or something small a good big
step in front of you, and a good big step
behind you. Stand in correct posture, with
the four dots in line. Bend your left knee,
and extend your right leg straight forward,
touching the match box with your toe.
Bring the right leg in circle fashion to the •
side and back, and touch the matchbox be-
hind you, straightening the left leg as you
do so. Reverse. The point is to make as
wide a circle as you can with each leg-
without wobbling, and without losing the
upright carriage of the upper body.
Before I come to the more popular sub-
ject of reducing derriere, thigh, hip and
stummick, let me get a word in edgewise
to the thin girls. Ginger Rogers, who
isn't _ what you might call thin, neverthe-
less is apt to lose eight to ten pounds when
she's working on a dancing picture. Going
at high tension and working so hard, she
used to have trouble getting to sleep. She'd
find a certain nervous irritability creeping
up on her at the end of the day. She found
that_ the following stunts helped a lot.
During the day, whenever she could spare
five minutes, she'd get on a bed, knees up
under her, and chest down as flat as pos-
sible—and just stay there. That's all. At
first it seems awkward, but you'll quickly
find it restful. And it's a swell cure for
small backaches, too. At night Ginger,
after a warm bath, religiously does the
following exercise: lying flat on the back,
without a pillow, raise the left arm. Let it
flop. Raise the right arm. Let it flop.
Raise the legs, one at a time. Let them
flop. Sounds silly, but first thing you know,
you begin to feel nice and drowsy.
Now, we come to the hard part. Hips,
stummick, fanny, thigh, waistline, dia-
phragm (oh yeah), fat back, and that wail
that's always with us, "What can I do about
a sagging buzzoom?"
Hips first. This one isn't so difficult to
do, and it's mighty efficient. Lie on the
floor, on your back, legs straight and to-
gether, arms extended, shoulder height, to
the_ sides. Now, with plenty of "umph"
swing your left leg up, over across your
body, and up to touch your right hand.
Barbara Read was delighted,
too, when Edgar Bergen re-
ceived a special award for
creating Charlie McCarthy.
MODERN SCREEN
Return to original position, and do the
same thing with the right leg. Keep your
upper body as flat on the floor as you
can while you do this.
Here's a rather difficult hip reducer. Lie
on the bed, with your hips just slightly
over the edge — not too far over so that
you lose your balance. Your legs are in
jack-knife position, knees up against your
chest. With plenty of that "umph" again,
extend the legs out straight, make a vyide
circle with each of them at the same time,
and return to original position. Start out
on this "werry, werry easy."
FOR the derriere and upper thigh, here
are variations of the same exercise,
not difficult to do, but a bit rough on the
friendly old hide. Do them only a few
times to begin with, working up when
your rear and hip can stand the punish-
ment. Sit on the floor, feet flat and knees
up, arms behind to brace yourself. Now,
if you'll pardon my plain-spikking, bump
the rump on the floor. Not too tenderly,
but you needn't kill yourself. For the
chunk of fat on the upper thigh, lie down
on the floor, turned slightly onto the left
side, right leg bent up to brace yourself.
With a push up from this right foot, raise
your hips up off the floor, and then bump
down on the rump. Bump five times, then
reverse. Five times will be enough for a
starter. Later, do it ten times.
A bulge below the belt is assuredly an
unsightly sight in any language, but, be-
lieve me, here is the cinchiest figure
problem of them all. To iron out a hip
takes hard work ; large or pendulous buz-
zooms are difficult to reduce and firm. But
if too much tummy is your only trouble,
take cheer — and get to work.
Is it excess fat or poor muscles that's the
trouble, and how can you tell? This way
you can tell : pull in your midriff as flat
as you can. If you pull it in nice and flat,
but have trouble keeping it so, then it's
dollars to doughnuts your muscles are
flabby. They need toning and strengthen-
ing with exercise. If, after pulling your
abdomen in as flat as possible, there is still
a bulge forward, then it's excess fat, prob-
ably aided and abetted by poor muscles,
that you must fight. In the latter case, cut
down on your food, but don't starve your-
self. Watch your liquids, and never drink
anything with a meal. Take coffee, tea or
water at the end of the meal. Walk about
for half an hour after meals. And roll,
sister, roll. Lie on your back, and roll
over and over across the floor, and put
plenty of energy into this simple exercise
if you want to smash off that extra fat.
TO tone abdominal muscles, here is a
fine exercise which is not strenuous
nor difficult. Lie on the floor, on your
back, with your feet raised on a stool or
some low piece of furniture. Raise your
body up until you are in a straight line
from head to toe. Hold the position while
you count slowly to five, and return to
the first position. Pull as hard as you
can on those abdominal muscles while you
count. You can do this exercise twenty
times right off the bat and you'll have no
stiffness or soreness next day.
A more difficult exercise is this one
which I've written down several times : lie
on your back on the floor, raise both legs,
keeping the knees straight, to a right-angle
position with your body. Lower the legs
slowly, but do not let them quite touch the
floor. Lift them slowly up again, and
repeat, resting after the fifth time. Take
your choice of these two exercises or,
better still, do them both, taking it easy
on the second one until your body is con-
ditioned to exercising. Wear a good girdle.
The best type is one which is quite snug
and firm, with some strong material in
front but, and this may surprise you, no
bones. If you bulge in front, it's almost
too much to ask of flabby muscles not to
slacken at times, and when they slacken,
those bones bend into an ugly curve and
stick into you. Don't expect a girdle to
do everything. It will help, but you must
do the rest.
That first tummy exercise, let me add
before I forget it, is also good for slimming
the waistline.
A figure problem which isn't as common
as the above-mentioned concerns the dia-
phragm. You know, the territory which
lies just north of the waistline and south
of the bust. Fat has been known to settle
on this spot, thickening the waistline, spoil-
ing the look of tightly fitted dresses and
giving that "spare tire" look. Dorothy
Lamour, whose figure is perfect, goodness
knows, has an unholy horror of the un-
necessary padding which might some day —
who knows ? — settle on this portion of her
nifty chassis. Somebody told her once
that gals who sing are prone to have this
figure problem, and Dottie is taking no
chances. She religiously does the follow-
ing special exercise. It reduces the dia-
phragm and firms the figure generally.
Kneel on the floor. Bend the upper part
of your body over, pulling the tummy in,
hanging the head down, and making a hill
with your back. Now, put your hands
firmly on the floor to brace yourself, bring
your head and chest up and pull down
with your back muscles — all in one motion.
Back up, back down, back up, back down,
to a rather slow count.
Lessee now, time is getting short. What
have I left out? Ah, to be sure. Bust.
The knottiest problem of them all. If
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you're heavy all over and go on a slimming
diet, the bust will reduce to some extent
along with the rest of your figure. Along
with reduction, almost inevitably goes a
sagging of the muscles and a spoiling of
the youthful contours of the bosom. Sag-
ging muscles also come to the slim and
shapely gals who do not maintain correct
posture. Having babies and nursing them
is looked upon as a sure fire way to ruin
youthful contours. That "ain't necessarily
so," as is proven by every single movie
star who has had a baby. The thing to do
about this part of the body is to prevent,
rather than to try to cure.
Frankly and honestly, you can't "cure"
one hundred percent, though you can do
a little to repair the ravages of neglect and
self indulgence. The two exercises which
follow are dancer's exercises, contributed
by Jean Parker. She has one of the
prettiest and most feminine figures in
Hollywood, and certainly sagging muscles
are none of her funeral. She does these
stunts simply to keep her graceful and
supple body as graceful and supple as it is,
but they are stunts which, incidentally, do
wonders to keep breast muscles strong, and
they will, to some extent, firm muscles
which have been neglected.
YOU can stand for the first one. Is that
a relief or not? Stand with your weight
on the left foot, knee slightly bent, and
right leg and foot thrust out to the side.
Bend your body to the left, your right arm
raised and flung across your face. Now
shift your weight onto your right foot,
sweep your arm across and up with as fine
and graceful a movement as you can, push-
ing up, up, up, with the right palm. Re-
peat, five times, then reverse. The amount
of good this exercise will do depends upon
the vigor and "push" you put into that
upward fling of the arm.
This second exercise is more difficult.
Take it easy. Sit on the floor, with your
feet crossed close in front of you, and your
knees extended as far apart as you can get
them. Arms are relaxed, with your hands
in front of you. Now, bend to the left,
letting your left arm rest on the floor. The
right arm stretches up over your head,
straight, and making a straight line with
your body. Keep the arm well back, and
close to the side of your head. Come back
to the first position and reverse. Do it
slowly, and put plenty of "umph" into that
uplifted arm.
Here is an exercise for a fat back and
fat upper arms. Lie on the floor, your
knees bent up under you, arms extended a
little way out to the sides. Now lift the
friendly old hips up from the floor, and
wiggle around on your back and upper
arms. Not a very refined looking exercise,
but who cares, if it takes the fat off vfhere
you want it off^ ?
As usual, umpteen things I wanted to say
will have to be left out for that good old
editorial excuse, "lack of space." But I do
want to add one thing, a caution to "little
women" about trying to streamline their
figures too much. By "little women" I
mean the gals who are five-feet-two or
under. To be streamlined in the Holly-
wood manner, you would really have to be
emaciated. Your health would inevitably
suffer, and that would be a wicked price to
pay for a few pounds. If you have a
tendency to be a little "on the plump side"
don't, of course, let yourself go and be-
come a little butter ball, but don't on the
other hand, sacrifice your health, your dis-
position, and get that haggard look in the
face from lack of food. This goes especially
for small women who have passed the first
flush of youth. Make it a habit, if you
can, to stick to fruit for desserts. Curb
yourself with an iron hand when it comes
to pie, cake, ice cream and the like. Leave
alcohol alone, except for very, very rare
"party" indulgence. And learn to be smart
about clothes and lines and corsets. If
you're not slim, as well as short, beware
of the exaggerated boleros which are so
popular this season. And wear your skirts
a little longer than is currently regarded
as fashionable.
Big girls, who run to some "hippiness"
and who are told by their pals, "Oh, well,
you're tall. You can carry it," should, of
course, do their hip exercises and watch
their diets, and they can do a lot, too, with
proper corsets and clever clothes to con-
ceal their particular figure fault, and play
up their good points. Get a girdle that is
long enough, big girls, even if it costs a
coupla dollars more. Be careful about
dresses that have a seam at the waistline.
Often as not, these styles are too short in
the bodice for you. Similarly, you can't
buy cheap blouses and cheap sweaters,
since cheap attire of this type is always cut
on the skimpy side. A too-short bodice
will thicken your waist and add ten pounds
to your figure. Avoid too-tight skirts.
And how about a word to the girl who
really has a nice figure? Folks are apt
to think that she's just too bloomin' lucky
to rate any sort of advice. Well, for what
it's worth, let me tell this girl not to be
afraid of extreme styles. Dramatize your
good figure with everything you've got.
Beware of only one thing: don't try to
over-emphasize your slimness. Up-and-
down stripes and too-plain black dresses —
no. Play up your slimness in a subtle
manner, next time you buy a party dress.
Have it full and flowing, full, blousey
blouse, and much gathered skirt, all pulled
in to a tiny, tiny waistline.
I gotta stop now. Will be doing business
at the same stand next month.
A topper and tails may be
okay with you, but give Lloyd
Nolan the good old days of
slouch hats and comfortable
cowhides.
MODERN SCREEN
THE SKIPPER AND HIS LADIES
{Continued from page 45)
marvelous and cosmopolitan older wo-
man who knows all the ins and outs of
Hollywood, and has enough worldly back-
ground never to lose her perspective.
Unavoidably, the world being what it is,
false and ridiculous rumors got about, at-
tributing Jon's success to his friendship
with the Countess di Frasso. _ The truth
is that he never even saw this charming
woman until three weeks before "Hurri-
cane" was released. His hair was cut, the
picture was in the can before he met her.
There was never anything but friendship
between them, never the romance that the
newspapers tried to imply.
JON HALL has reason to resent this
story, for it presents him in a light
utterly at variance with his true per-
sonality. Jon is not an opportunist. I
have never met a man so eager to forge
ahead on his own, so determined not to
pull those mysterious strings which are
supposed to get you places in Hollywood.
Had he wished to pull strings, his life
might have been very different; he could
have gone to his cousin by marriage, James
Norman Hall, who wrote "Hurricane," and
ask to be suggested for the part of
"Terangi." Instead, he went through al-
most incredible struggles in Hollywood
when his first tiny role in "Charlie Chan
in Shanghai" failed to make any dent
on the public consciousness. Convinced
that he was not the stuff from which
film idols are made, the studio let him
go, and he started all over again, playing
tiny "bit" parts in unimportant "quickies."
Finally, he applied for a technical job
on "Hurricane," realizing that his famil-
iarity with the South Seas would qualify
him as a technical expert. When he was
asked to come to the studio, he thought
it was in reference to this job for which
he had applied, for he had heard that
Joel McCrea had already been chosen to
play "Terangi." Even when they screen-
tested him, Jon still did not let himself
hope too much. He thought perhaps he
was being tested to see if he could double
for Joel in the diving scenes. Actually,
Joel had turned the role down, feeling that
he wasn't qualified to play a Tahitian.
The urge to get ahead entirely on his
own has dictated Jon Hall's romantic his-
tory as well as his career.
"When I was nineteen, and traveling in
France, I fell madly in love with a very
beautiful girl whose face was framed by
soft, prematurely gray hair. In spite of
the gray hair, she was young, courageous
and gallant, and I knew and adored her
for three and a half years. Perhaps we
might have married, but she was very
wealthy, and I knew that I couldn't be
happy unless I could provide beautifully
for her," Jon Hall told me.
One day the girl Jon loved, and with
whom he had spent some of the happiest
and the most miserable moments of his
life, because they were so deeply and
hopelessly in love, was killed while flying.
An aviatrix in the days when flying was
far less safe than it is today, she died
as gallantly as she had lived, leaving Jon
with nothing but a memory.
There followed a long period when it
seemed as if icicles had formed in his
heart, making it impossible to fall in love
again. Then came the struggle to find
himself; disillusionment at discovering it
would cost more than he could afford to
attain the diplomatic career for which he
had hoped; after that his return to Tahiti,
and finally Hollywood — and Andrea Leeds.
FOR a time they went everywhere to-
gether, and were rumored to be madly
in love with each other. In a pub-
lished story he said, "We have such a
lot in common. We drive together, swim
together, dance together, go to movies,
watch 'performances.' We're both here on
the Goldwyn lot, you know, both begin-
ning. We have a lot to learn about pic-
tures, and it's fun learning it together."
Now all that is over. He still says of
Andrea, "A grand person, and a swell
actress." But there's no flame in his eyes as
he speaks, and you know that the glory and
romance have gone out of their friendship.
There are other rumors now, cluster-
ing about his name. For instance, Walter
Winchell's girl Friday announced in her
column recently, "All those tips you
ignored on Jon Hurricane Hall and Dor-
othy Sperber are correct. They confirmed
the news in person at '21' last night."
Vigorously, Jon Hall denies the impli-
cation that he is engaged or married to
Dorothy Sperber. Emphatically he said,
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"It is just Winchell's way of saying
that Dorothy Sperber and I were at '21'
one night, _ which is true enough, but
doesn't indicate anything serious. As for
confirming the 'news,' there was nothing
to confirm. There couldn't be, for I am
too much attached to Frances Langford."
YOU mean that when you're in Holly-
wood you see her every night?"
"Well, practically every night. We go
to movies, parties and dances together ;
sometimes I come over to her house and
a group of us plays bridge or rummy.
When Frances is my partner, you can be
quite sure that there are never any argu-
ments over a game of cards."
Frances and Jon met for the first time
when he appeared on the "Hollywood Ho-
tel" radio program on which Frances sings
regularly. ^ Watching this tiny, half-pint
singer, with her brown hair, brown eyes
and the shy appeal of her manner, Jon
fell in love with her almost at once.
Analyzing it now, he says he thinks it's
because there is something about Frances
that is reminiscent of his mother. Even
her mouth has the soft, sweet curve of his
mother's mouth.
Because he was so deeply stirred, and
going out with Frances would have meant
so much to him, Jon was afraid to ask
her. In spite of all the beautiful women
who must undoubtedly have pursued him,
as they pursue every handsome, eligible
man in Hollywood, when he found his
own affections involved, he hesitated to say
anything to Frances, having no reason to
believe that she would agree to see him
again.
_ "On one of the few occasions when I
did go to the Trocadero," he told me, "we
danced together, but I still couldn't sum-
mon up the_ courage to ask if I might
see her again. But somehow or other,
she struck _up_ an acquaintance with my
sister, who invited her to dine at our home
one evening. Although I had other en-
gagements, the moment I heard who was
coming over, I cancelled everything else.
_ "Frances is the kindest, most sympathetic
girl I have ever met. She has been per-
fectly wonderful to her family, and I could
tell you dozens of grand things she has
done, if I didn't know that she would hate
to have them publicized. There is no other
girl to whom I would rather turn when
I am_ worried or troubled about something.
She is so patient, and understanding, and
helpful."
"But would you be willing to marry a
professional woman?" I asked.
"Why not?" Jon Hall countered. "I
think it is good for a woman to have a
career. So often it gives her a sense of
values, teaches her how to get along with
people, and how to live on a given income.
Among women who have earned their own
way, you are far less likely to find wives
who are so wildly extravagant that they
drive their husbands to desperation by their
unreasonable demands. A woman who has
earned her own livelihood knows that
money doesn't grow on trees, and that it
has to be earned before you can spend it."
NOR would Jon Hall have objections
to his wife's continuing her career
after they were married, so long as he re-
mained "the man with the long pants."
"Two careers in the home are swell,"
he said, while I thought of all the people
who insist that their marriages had ended
because two careers couldn't exist under the
same roof. "Many women would be bored
to death if they had to give up their
careers, and would consequently become
very uninteresting and dull marriage part-
ners. As long as a woman is doing some-
thing which keeps her interested, she re-
mains interesting."
It's been said that Jon Hall would like
to go to Tahiti to live, there to raise a
farnily, and bring up sons and daughters
amid the blessed peace of the South Seas.
But he denies that such is his idea of the
perfect life.
"Tahiti is just like any other place in
that, if you spend all your time there, you
lose your sense of perspective. For me the
ideal existence would be to spend six
months a year making pictures, and six
in Tahiti, where I am building a home."
"What sort of a picture would you like
to make next?" I asked.
"Another adventure picture," Jon said,
"but not another 'Hurricane.' Next time
I hope I'll have a chance to wear clothes."
TEMPESTUOUS TENOR
{Continued from page 47)
I not only didn't collect salary, but wasn't
allowed to do any radio work or make rec-
ords. Well, finally they changed my part
considerably. You know, there is a cer-
tain contingent on the coast that feels an
actor doesn't know what is good for him,
and maybe they're right. They've plenty
of proof at that, what with Gable's experi-
ence in 'It Happened One Night,' and
other shining examples.
"However, I felt the picture was bad for
me, and that's one of the reason's I'm doing
personal appearances while I'm east. I
think the fans should hear me sing, because
some of them may think a voice is dubbed
in for me. Then, too, if they see me maybe
they may like my pictures more. They've
been educated to believe that unless you're
starred in a picture, you can't be too good.
That's one reason "The Firefly' wasn't such
a boost for me. People were used to seeing
MacDonald and Eddy starred in all those
musicals, so when they saw Jeanette
starred, with Jones in the supporting cast,
they figured they were being cheated."
Then Allan began reminiscing about his
early days. His experiences provide a
story the film industry would do well in
making.
"You know the way my family discov-
ered I had a voice?" Jones asked, as he
fired up his pipe. "I used to imitate my
grandfather's voice, and finally Dad, who
appreciates music in any form, decided to
give me lessons. He was foreman in one of
the coal mines in Pennsylvania. After
school and summers I worked as a car-
penter's helper to make a little extra
money. Finally, a few years later, a big
strike occurred and I got a job driving the
men to work. I picked them up before
davyn, and packed a gun I never used, the
main reason being I was too darn scared
of it!
"One morning the steam shovel operator
didn't show up so I took a turn at it, and
found I was pretty good. Then I really
got into the chips, making about seventy-
five bucks a week. Much to my chagrin,
the strike was soon settled, and I was out.
So, I went back to being a carpenter's
helper and worked double shift, sixteen
hours a day, to make the extra money.
After I tried a couple of schools I was for-
tunate enough to find a fine teacher.
"Each summer he taught in Paris, so,
with the first green sprigs of spring, I'd
gather up enough greenbacks to get me
MODERN SCREEN
across the Atlantic. Once, before depart-
ing, I wired Dad to see if he could arrange
a concert in my home town. He answered,
'Have two thousand men working for me.
Make plans accordingly.' Well, I made
money there, and, with what I had saved,
hopped a boat for France. With plenty
of hard work, and some concerts, I landed
a job. You see, I didn't make much money,
but it was pretty swell. Maybe that's the
reason I accepted an acquaintance's myita-
tion for cocktails one day after a matmee.
"The man was interested m Ainencans,
having married a San Francisco girl. We
got to be friends and so he asked me to
sing at a party he was giving. There he
introduced me to Mrs. Armstrong. Right
off the bat she said, 'Young man, what are
you going to sing for me?' I told her I
hadn't decided. 'Do you mean to say you
haven't arranged a program for me?
"This was getting me down so I excused
myself and went over to try the piano. But
before the first chord was sounded she
told me that the acoustics were bad
there, and to move to the other side. 1
wanted to tell her I knew the room pretty
well myself, but instead I changed my
place. Later she told me I sang nicely.
"Just before I left, my host brought her
over and said, 'Allan, allow me to reintro-
duce Mrs. Armstrong. She asked that I
use her married name so you wouldn't be
nervous. I'd like to present Dame Melba!'
A good gust of wind, and I'd have been out
for the count! She was marvelous, and
told me I had a fine future if I'd work
hard, always keeping a definite purpose in
mind."
1 THINK we might venture so far as to
remark, en passant, that our tempestu-
ous tenor's career is colorful. At a glance
it's easy to see just why Mr. J. is the object
of his studio's affections — with plans what
am plans! Handsome in a rugged manner,
soft spoken and completely charming, he
would be valuable to any concern dealing
in entertainment. However, as he points
out, the talkies have changed the industry
from a personality market into one demand-
ing, not only appearance, but talent with
opportunity to display it.
"After my return from abroad, I went
on the stage. I didn't play Broadway, but
I did the sticks in a big way. There wasn't
a flop opened on the road that Yours
Truly didn't head the cast. We didn't last
long, but we returned often, and there
wasn't a town boasting a Shubert Theater
that didn't know me by sight. It was
slowly but surely driving me crazy, so I
bought up my contract. It was then I
went out to Hollywood and, except for a
few uneasy moments, I've been darned
happy ever since my movie debut."
THE LOVES OF
LAMOUR
{Continued from page 46)
resolutely tlirough two choruses of ''Danc-
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name," he said to her, "but Herbie Kay,
whose orchestra I manage, wants me to
bring you over to his table. He wants to
talk to you."
Later that night an exuberant Dorothy
burst into our apartment in a frenzy of
joy. The words tumbled out excitedly.
"I am in love," she said, "gloriously, hope-
lessly in love, for the first time in my life.
His name is Herbie Kay. I think he likes
me, too, but if he doesn't now, he soon
will." She paused. "He must," she
added quietly, earnestly.
Two weeks later the theatrical columns
announced that Herbie Kay and his or-
chestra were featuring a new vocalist by
the name of Dorothy Lamour. And when
the band departed for engagements in other
cities, I lost my room-mate.
For three exciting years Dorothy sang
with the orchestra led by the man she
loved. She developed poise, learned how
to meet people, and to radiate confidence
and showmanship in front of an audience.
She acquired a wardrobe that was smart
and becoming. Occasionally the gossip
columns reported that she and Herbie were
engaged, even secretly married. I was
convinced that Dame Fortune had singled
Dorothy out as her particular pet. Here
she was, in the constant company of the
man she loved, doing the work she had
always dreamed of doing, and earning a
good salary for the first time in her life.
OUT one night I received a telegram
which led me to believe Dorothy had
suddenly lost her reason. "Have resigned
from orchestra," it read. "Arriving La
Salle Street Station eight a. m. tomorrow.
Please meet me. Love, Dottie."
That dreary, rainy morning is still fresh
in my mind. A red-eyed, unhappy girl
greeted me. Over steaming coffee in the
the station lunch-room she recited her
tale of woe. She knew instinctively that
Herbie loved her as deeply as she loved
him. _ But Herbie, manlike, did not know.
He didn't even suspect. She had been with
him too constantly. She had been too com-
pletely at his beck and call. He had
never been given the chance to miss her, to
realize he would be a lot less happy with-
out her. Working with his orchestra
every night, rehearsing every afternoon,
she had had no opportunity to keep him
guessing. He took her presence and her
nearness for granted.
"He was very angry when I gave him
notice," she confided, "but I feel I am
doing the wise thing. Perhaps it is mad
to throw over a good job and a steady in-
come, to return to uncertainty and pov-
erty, but I must make him realize he loves
me. Love and marriage are the only vital
things in a woman's life, and they are
worth enduring hardships for."
Almost a year passed, and Dorothy
struggled on, accepting whatever engage-
ments she could get. Finally she drifted
to New York. There were days when
she actually went hungry, but she was
too proud to appeal for help, too stub-
born to admit defeat. Occasionally a let-
ter came from Herbie. She always waited
several weeks before replying. And she
took care_ that her letters were kind, but
cool and impersonal.
Gradually managers began to sit up and
take notice of the torch singer with the
low, emotional voice and the radiant good
looks. The Stork Club signed her for a
short engagement. The National Broad-
casting Company retained her as featured
artist on a small sustaining program. But
as the months went by, Dorothy began to
think that perhaps Herbie did not love
her, after all. She made one last des-
perate move. Receiving a letter from him,
she returned it unopened, together with
a brief note saying she felt it would be
best to stop their correspondence, and to
forget that they had ever known each other.
It took Dorothy Lamour almost four
years to prove to Herbie Kay that he
really loved her, but it took him exactly
two minutes to finally see the light when
that fateful letter arrived. He called his
first violinist. "Take charge of the or-
chestra," he ordered. "I have to fly to New
York immediately, but I'll be back in a
few days."
And that's how it happened that one
evening a very gay voice greeted me over
the telephone. "Dorothy," I screamed,
"are you phoning from New York? What
in the world has happened? Are you all
right?"
In a confidential whisper, Dorothy first
swore me to secrecy, then told me she was
in Chicago. I was to hop in a cab at once,
and meet her at a certain obscure restau-
rant. I arrived breathless, and there was
Dorothy, in a suit three sizes too big for
her, no hose, and evening slippers. Herbie
and Roz Metzger, his best friend, were
with her, grinning from ear to ear.
_ Bit by bit I heard the whole story. Her-
bie had flown to New York, begged
Dorothy to marry him. She had been at
work in evening clothes, but he had rushed
to one of the Broadway dress shops and
bought her a travelling suit, so they could
leave on the next plane. They eloped to
Waukegan that very night, and Roz and
I acted as witnesses.
Dorothy intends to keep Herbie's love
just as she won it in the first place — by
not letting him take her for granted. I
sincerely believe that is why she continued
to struggle for professional success even
after her marriage. It has been almost
three years since those "I do's" were
spoken, and, despite frequent separations,
caused by their careers, they are more in
love today than ever. Herbie is "Grandpa"
to Dorothy, she is "Dolly Face" to him.
Dorothy's one and only show of tem-
perament at her studio occurred a short
time ago when she asked to be allowed to
appear with her husband's orchestra at
the Cocoanut Grove. Shortly before that
the studio had turned down a personal ap-
pearance tour for her at $5,000 per week,
so she was told kindly but firmly not to
go into the Grove. Dorothy pleaded. They
remained adamant. Finally they said,
"Look here, what means more to you, any-
how, your career or love?" "Love," she
answered stormily. She had them there,
so they consented to the appearance. She
will not be advertised, because she wants
Herbie to have all the publicity and ad-
vertising.
Dorothy's other consuming love is for
her mother, Mrs. Carmen Lamour, who
brought her into the world twenty-four
The sultry Dorothy Lamour will
fight for "Her Jungle Love" —
and no wonder when it's hand-
some Ray Milland.
102
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MODERN SCREEN
years ago in the charity ward of New Or-
leans' Touro Infirmary. Their mother and
daughter devotion is stronger than most,
partly because of the hardships they have
weathered together, and partly because Mrs.
Lamour is still a young woman, capable of
being" a good companion as well as a grand
mother.
When Dorothy was just an infant, Mrs.
Lamour toiled as a cashier, cook and sales-
woman in order to provide her baby with
life's barest necessities. Today Dorothy
is determined to repay her mother for
those early sacrifices. When Dorothy be-
gan her first picture, and received a defi-
nite contract, she wrote me, "The first
thing I'm going to do with my salary is
to buy a fur coat for mother. She has never
owned one."
Ironically, her salary on that picture,
"Jungle Princess," went for no such happy
purchase. Before the completion of the
film, her mother was rushed to the Good
Samaritan Hospital for a major opera-
tion. The studio was unable to grant
Dorothy a leave of absence at that time,
and every day she would rush to the hos-
pital for stolen minutes between shots.
The money intended for finery just about
paid hospital and doctor bills, but Dorothy
was more than rewarded by her mother's
complete recovery.
Now, when I see Dorothy and Mrs. La-
mour, resplendent in mink at an opening
night, I feel a tug at my heart-strings. I am
so happy for them in their hard-earned
glory.
The sultry, primitive Jungle Princess of
the Cinema happens to be one of Holly-
wood's most civilized girls, a wife who
loves wisely and well, a loyal and devoted
daughter, and a friend who has not changed
with the years.
FUNNIEST GAL
IN TOWN
(^Continued from page 50)
would stay until she finished, she would
cook for them. So they stayed, and Marie
emoted.
Anticipating what was to come, her audi-
ence even gave her applause, sometimes
so much of it she couldn't finish. But
Marie was content. She was acting. And
no star ever took an encore with more
gracious ease than Marie took those
bribed curtain calls.
The denouement however, was sudden
and unexpected. Marie prepared an un-
usually long repertoire one day, and kept
her audience an entire afternoon. They
retaliated by making heavy demands.
Marie strove to please, but in doing it,
stripped her mother's cupboard of every-
thing in sight, and borrowed all she could
get from most of the neighbors. That was
the end of the Little Theatre Movement
for Marie.
From the moment she decided to be an
actress, Marie never wavered from lier
course. She mapped out a plan of action,
and stuck to it through everything. There
are several highlights in her girlhood that
bear the telling.
She was born and reared .in the little
farming-town of Anaheim, but she was
wholly movie-minded. She read avidly
all of the fan magazines, and attended the
neighborhood theatre regularly. She de-
cided that if sine had some sort of a spe-
cialty, she would stand a better chance of
becoming an actress.
At the rijie age of ten, she became ac-
quainted with a little girl who could dance.
Marie's parents could not afford to give
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103
MODERN SCREEN
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her lessons so she bargained with her little
friend to teach her a routine.
As soon as she had perfected her dance,
Marie went to Hollywood, ostensibly to
visit a cousin. However, on the second
day of her visit, she slipped up the street
to the nearest movie studio. She even suc-
ceeded in climbing over the fence, but she
plopped into the office of an executive who
was feeling low.
She closed the door behind her and went
into her routine, but the executive was an-
noyed. He couldn't see any talent in the
big-eyed, slim-legged little girl. He saw
only an interruption in his busy day. He
asked her for her phone number and
somewhat irately demanded that her rela-
tives come and get her. It was a cruel
ending to her adventure, but it didn't make
her relinquish her ambitions.
On the contrary, during that brief mo-
ment on the lot, she caught a glimpse of
several beautifully gowned girls in make-
up, and actor-knights in armor. That was
all she needed to crystallize her aims.
From that day, she knew beyond the
shadow of a doubt that some day she would
be a movie actress. The route was the
only thing that remained dubious to her.
TWO years later, she discovered that a
contest for a Jean Harlow double was
being held at Grauman's Chinese Theatre.
Marie entered it.
She had white-blonde hair, and a small
heart-shaped face, so it was not difficult for
her to double for Jean. She wore a slinky,
black velvet gown and a heavy necklace
of pearls. In approved "vamp" fashion, she
started to mince past the row of judges.
Right then and there her necklace broke.
And every one of those judges got down
off the stand and helped her to find her
beads.
She won first prize, but it availed her
nothing. She had only two days to spend
in Hollywood. The prize was a dual
alfair, being a visit to Jean Harlow's home,
and a free trip to Catalina. Nobody
seemed to know how to get her out to
Jean Harlow's home, so she never went.
It rained the next day, so she couldn't avail
herself of the free trip to Catalina.
However, she had the satisfaction of
knowing that she had won first place in the
contest. Although sometimes she won-
ders if her beads didn't have more to do
with it than her beauty.
There is one thing about Marie that
stands out. She never fails to achieve her
aim, but there is always a note of pathos
tangled up in her success. She is very
romantic, as comedians usually are, but
the great moments in her life, the ones that
should have been beautiful, have always
been tempered with the ludicrous.
Like the moment she stepped forward
with a bouquet of roses in her arms to re-
ceive her diploma, when she was graduat-
ing from Miss Page's School for Girls.
Marie stepped too close to the footlights.
When she reached out her hand for the
diploma, she tumbled head first down into
the orchestra pit.
She met the man she has promised to
marry, under the most embarrassing
circumstances. She had run out of gas
and stalled her car half-way up the hill
to her home. Traffic was securely blocked
both up and down. While cars were honk-
ing to right and left of her, and she was
trying to straighten out the tangle, Nick
Grinde looked out of the window of his
hillside home and saw her. The sight of
the slim, big-eyed little blonde, waving her
arms and shouting in an approved traffic-
cop manner appealed to his sense of humor.
She \s a funny little thing.
Nick straightened out the traffice jam,
and put some gas in the tank of her car.
That was the beginning. Marie felt sorry
for him, living all alone in that big house
of his, so she decided to be neighborly.
She began to cook special dishes and take
thern over to him.
Nick liked everything she brought, and
soon he found himself advising her about
her career. Before either of them knew it,
they had fallen in love. Some fine day,
they will be married. And I am sure they
will be happy, too.
Sympathy is a strong ingredient in
Marie's make-up. She is sorry for every-
thing and everybody, always has been.
When she was eleven years old, a gray
alley cat had a litter of kittens. Marie
felt so sorry for them, when she saw how
unkempt and dirty they were that she
caught them, took them into the bathroom,
and tubbed them all.
The bath almost finished the little kit-
tens, and her mother had to help bring
them around with hot toddy and various
first aids. But, when they recovered, they
were as beautiful as the grandest Angora
in the neighborhood.
Marie's constant dream is to be the
heroine in the immortal classic, "Camille,"
and to have a good looking leading man
like George Brent. She thinks George is
about the grandest, handsomest man on
the screen, although she has only a speak-
ing acquaintance with him. If she doesn't
get to play "Camille," she hopes some day
to be cast as the heroine in a drama, with
at least three handsome leading men !
She'll succeed too. She always does win
her point in the end. She is studying all
the time to make herself ready for more
serious work, when it comes her way.
Meantime she has won for herself the
coveted role opposite Jimmy Cagney in
"Boy Meets Girl." And you're going to
laugh loud and long at the comedy of this
beautiful little blonde, with the dumb baby
stare and the long-lashed big, brown eyes.
So much has been said and written about
them, it is trite to mention that she has the
longest lashes in Hollywood — probably in
the world. Truthfully, they are so long
she curls them back in order to see clearly.
While she is at it, she breaks another
record. She has the smallest waist in
Hollywood.
You'd like Marie. She is something
new under the sun. And although I like
to laugh at her on the screen, I honestly
hope that some day, she will reach her
farthest goal, be "Camille" or some equally
tragic lady — and have three handsome lead-
ing men !
Ann Dvorak, making a success
of her picture come-back, is at
home as a gangster's moll, a
female horse-trainer, or a lady
of quality.
104
MODERN SCREEN
SUIT YOURSELF
(Continued from page 49)
five times so that they can't possibly pull
out, the legs are reinforced with gum rub-
ber (more resilient and longer wearing
than ordinary elastic), and the gussets are
lined with Kleinert's softex to insure longer
wear. The print in these suits is one of
the gay hand-blocked California souvenir
designs so popular this year. Other at-
tractive prints are the Hollywood Studio
print (complete with cameras, Kleig lights,
camp chairs and other studio impedimenta),
a smart fish print, and a variety of color-
ful floral designs.
AS a change from the maillot type of
suit, Marie Wilson has chosen a two-
piece dressmaker suit, bra and shorts of
cotton, with Indian motif design (also
very good this season). The waistband
of the flared shorts is lastex gathered.
Marie's figure leaves nothing to be de-
sired, but perhaps yours does, and you're
not at your best in a snugly fitted maillot.
If this is so, then Marie's suit is the best
type for you. However, if you simply
can't resist the smooth, shining effect of
satin lastex, you can have it in a solid
color princess style suit, jersey lined. If
you have a full figure, you undoubtedly
know what wonders the princess line will
do for you !
When you shop for your new bathing
suit, there are two other Catalina suits
(not shown here) that you_ must see.
"Puckerette" is a one-piece shirred cotton
lastex in smart diagonally striped designs,
more closely gathered round the midriff
to give a flattering form-fitting efliect.
"Miss Ca-ta-lina" is a one-piece model of
wool and lastex in gay floral designs,
lovely on a youthful figure.
This combining of wool and lastex does
away with the old worry of having your
suit stretch or sag, particularly when it
dries on the figure. Your wool suit now
fits you as well as your foundation gar-
ment, with the same two-way stretch.
Rochelle Hudson's smart wool and lastex
maillot fits her lithe lovely figure per-
fectly. It's made of Jantzen's new Wisp-
o-weight fabric, in which soft lightweight
wool is combined with lastex yarn. This
suit takes its name, "Cherie," from the
four red cherry buttons down the front.
Dixie Dunbar, the cute little dancing star,
sets ofi^ her trim little figure with the
"Vee Tuck," also made of Wisp-o-weight.
There are three different types of this
fabric. In addition to wool and lastex in
solid colors, you can have either silk
worsted or pure silk, and lastex in un-
derwater prints, tropical flowers, or Cali-
fornia figures.
If you want to be conservative, you'll like
the dusty pink B.V.D. suit that Eadie
Adams has chosen. A nice note of con-
trast is added to the perfectly plain body
of the suit by the white knitted straps.
On the other hand, if you prefer a suit
that's more of a novelty, if you're young
and gay, you'll like B.V.D.'s "Fore and
Aft," which is made in two contrasting
colors, front and back, and is very smart
and nautical looking, made up with
navy front, red back and white rope
halter.
Of course, you'll realize that the suits
shown and described for you here are just
a few of the many, many new and at-
tractive models available. All these suits
are priced to meet the moderate budget
and are sold at department stores through-
out the country.
Take your choice — skirtless maillot or
suit with half, quarter or full skirt; one,
two or three-piece suit; satin lastex, plain
or printed; silk or wool jersey; shirred
cotton lastex ; all-wool in brilliant floral
or undersea designs ; or solid colors _ in
Bahama (royal) blue or aqua, dusty pink
or Rio Red, maize or lamplight, white or
navy; California, Egyptian, Indian, fishnet
or Mickey Mouse prints — the selection is
a wide one. Take your choice, suit your-
self, get into the swim with fashion _ and
Hollywood in a smart new bathing suit !
MR. R. GOES TO TOWN
(Continued from page 8)
about the worst picture breaks I thought
it possible to rate, but felt that before I
was entirely washed up, I would like to
do one role that I liked. A friend told me
about 'The Awful Truth' and said that they
were looking for someone off the lot to
play a good part in it. I wasn't familiar
with the story so I couldn't tell exactly
what it was going to be like. Anyway I
promised to see Harry Cohen about it at
once.
"I've been with him so long that I knew
just what to do. In fact, I figured just
about what he would say. He had prom-
ised me something better than the stiff
characters that had been my lot, so I fig-
ured that if I told him I knew the story
and it was just the sort of part I could do,
he'd pick up the phone and tell the direc-
tor he had a swell idea, and the job would
be mine."
Ralph began chuckling as he explained,
"I went in the next day and said, 'Mr.
Cohen, I hear you're going to do "The
Awful Truth" and are looking for someone
off the lot to play the part of the west-
erner. I've done the play and it's just the
sort of thing I can do well, and I should
have the part, especially since you've prom-
ised me a good role. It's just the thing we
were talking about so I think it's only fair
that you give it to me.' Cohen reached for
the phone and. said, 'Get me the producer !
Hello, there! Say I've got a swell idea.'
"Then I figured, since the job was mine,
I should know something about the story,
so I asked for a script. They had written
the part as an Englishman for Roland
Young, but he would have none of it. Once
I read it, I tried to do the same thing.
ff WAS in a spot. Here I had begged for
*■ the role, and now I'd give anything to
get out of it. Well, my pride didn't hold
out long for I decided it was my career, so
at least I should be washed up doing some-
thing I liked, which certainly wasn't 'The
Awful Truth.' Back to Harry I stalked,
but he couldn't and wouldn't understand
how I could beg for a role and then turn
it down. I was one smart guy, and that
was that 1
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MODERN SCREEN
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make you feel "up and up." Harmless, gentle,
yet amazing in making bile flow freely. Ask for
Carter's Little Liver Pills by name. 26c at all
drug stores. Stubbornly refuse anything else.
106
"Finally Leo McCary called me for
work. 'Bring a lot of clothes as we don't
know how we'll dress this fellow.' Oh in-
cidentally, 'Can you sing?' Nope. 'Can
you carry a tune?' Never have. 'Good.
You'll sing "On the Lone Prairie" with
Irene Dunne.' So we took that scene iirst.
"By the end of the day I found Irene
even unhappier than I was, and doing her
best to get out of the picture. At that, Cary
Grant's feelings made us both look like a
couple of overjoyed kids. He had tried
every way possible to leave, even offering
to do a picture free if they'd let him out
of this one.
"Cary stopped me and said, 'I'll tell you
what, Ralph, let's get them to let me do
your role and you play mine!' But, I
wouldn't go for that !
"Each day Leo came on the set, with a
little brown paper up his sleeve — the day's
shooting! We worked it out later. It got
to be a gag after the first day or so. Irene
was completely miserable, saying, 'But, I've
never worked this way before and I don't
know what to do.' But, Leo knew, and
after about four days, the story suddenly
came to life. We three began apologizing,
first to the producer, then, the director and
so on to the grips and props. As things
turned out, it was my lucky break, and it
certainly taught me a lesson.
"Another arrangement Harry and I have
is that I'm to direct some day. Recently,
Jack Cohen told me they were doing a
test of some youngster for the part of the
xylophone player in 'You Can't Take It
With You.' Here, I figured, was a good
opportunity to begin directing. I wouldn't
have the responsibility of a production on
my shoulders and could try out some
things I theorized upon. He agreed. I met
the youngster, and found his wife was to
assist him in the test.
"I don't know whether you're familiar
with the usual procedure of a test? Usually
they sit you on a stool, have you say some-
thing and move in for a close-up and it's
finished. None of this for me ! No, mine
was to be a miniature production. I com-
bined some of the scenes from the play.
The day of the test I talked with the kid
only to find him so nervous that none of
his readings made sense. I told them to get
the set ready while we went over to the
make-up department.
AFTER about an hour with him, I real-
ized it was all pretty futile, as the
boy had no experience and was so anxious
to make good that he was defeating him-
self. Then I did a thing all actors resent
— told him how to read his lines. Suddenly
I realized in doing this I wasn't fair to the
kid, nor to the company. For, once he was
on the set, Frank Capra, who is to direct
the picture, would surely send him home.
"Well, we spent five hours making that
test. I didn't feel too encouraged. After
it was cut we went to the projection room
where Jack asked me what I thought of
his possibilities. Needless to say, I spoke
frankly, told him my honest opinion, and
then the lights were lowered and we saw
that test. When it was over. Jack cried,
'What are you worried about? Why, it's
marvelous ! He's a natural and worth a
seven year contract !'
"Well, he was right. It was a knockout.
The kid was a wow. He looked up at just
the right times, lighted his cigarette at the
right moment, and everything was perfect.
That boy certainly went to town ! What a
break for him, for now he'll have confi-
dence and deliver," Bellamy continued with
a chuckle.
All of which goes to show that you can
never tell how far a frog can jump by
looking at him. Neither can you tell when
your worst assignment may turn out to be
your best break. For, in the case of Mr.
Bellamy, the one film he felt would finish
his picture life gave him a new lease, and
such a boost that, in the last few months
he's chalked up three good ones, yet to be
released.
"They can't stop me now — if it's hard
work that counts ! I'm all set for it, and
happy as a kid with his first jack knife,"
Ralph Bellamy concluded with a smile.
The Coogans before being presented at court! At Jackie's wedding, to be
exact. Brother Robert and Mrs. Arthur Bernstein, the groom's Ma, con-
gratulate him and his bride, Betty Grable.
MODERN SCREEN
UNSIGHTLY HAIR
WASHED AWAY
with
X-BAZIN
No more hair on legs or under
arms. Leaves skin smooth and
lovely. Giant size tube at drug
and department stores. Trial
size at all 10^ stores.
OVER 10 MfLLfON IM^^S SOLDI
IN EYE MAKE UP
WHEN NEW LOTION
CLEARS EYES
Eye make-up beautyis doubled when you change
dull, red, veined eyes (due to fatigue, late hours,
exposure. etc.) to clear, white, spsirkling loveli-
ness with just two drops of Eye-Gene. Formula of
two eye specialists. Approved by Good House-
keeping. Soothing . . . refreshing ! Purse size at
all 10c stores. Economy
size at all drug stores.
EYE -GENE
■ THE PRINCE DEMANDS
HIS PRICE
"I shall marry a man I
loathe." Beautiful Di-
ana Lord told her so-
cial-climber mother. "I
shall become the Prin-
cess Faria, and you will
be happy. "
Her promise was given
— her doom was sealed !
Nothing would ever mat-
ter again ! And then . . .
out of the exquisite
Venetian night, a mys-
terious stranger ap-
peared upon her bal-
cony. In an instant
Diana knew the very rea-
son for her being . . .
Don't miss "The Prince
Demands His Price," a
complete, book-length
novel, in the July is-
sue of
SWEETHEART
STORIES • 10'
July issue
On Sale Now
HIZZONER THE
MAYOR
{Continued from page 6)
who died in a psycopathic ward ! Another
asked if I could possibly be Dogface Nel-
son, her long last brother ! Then there was
the time some lady came up to me on a
set, looked at me carefully and asked,
'Aren't you Hugh Herbert?' I confessed,
and she exclaimed, 'Oh ! my heavens,' and,
rushed away."
A wise man once said, "All big men are
essentially simple." We feel Hugh Herbert
should have a front seat in this class. Not
merelj' because he's one of our foremost
comedians, but, in the words of his fellow
actors, "He's one of the best." Even that
villainous Basil Rathbone won't pass him
without stopping for a kidding remark.
"One day Olivia De Havilland and I were
sitting on the set swapping a few when
Basil came over. You know how lovely
Olivia is, and just as sweet as she is pretty,
too. Well, along comes this Rathbone and
says, 'Olivia, I'm surprised and dis-
appointed to find you in such low company.'
I sniffed around both sides of my chair,
then looked up and said, 'I thought I
smelled ham, woo-woo!' That started
things !"
Yes, our Mr. Herbert is snappy on the
comeback and has a way of winning the
argument with a good-natured wisecrack.
He's a philosopher — knows people as he
knows his job.
So, you see why Hugh Herbert is one of
those ever-in-demand thespians, for he does
what he does better than anyone else. Lack
of jobs will never be the cause of his
giving a lusty "Woo- Woo !"
And, what's more, they say she
can act! We're speaking of
luscious Harriet Haddon.
YOUR YOUTHFUL SKIN
A MASS OF PIMPLES?
Take steps now to help keep your
blood free of skin-defiling poisons
Stop being an object of shame and scorn
among your friends. Find out what often
causes those repulsive-looking pimples . . .
and get rid of them.
Between the ages of 13 and 25 your body is
changing rapidly. Important glands develop.
These gland changes upset your system. Waste
poisons from the intestines are often thrown into
the blood stream and are carried to your skin, where
they may bubble out in ugly, shameful hickies.
You must help keep your blood free of these
skin-irritating poisons. Thousands have done so,
just by eating Fleisehmann's Yeast. The millions
of tiny, lining plants in each cake of this fresh food
act to help you fight pimple-making poisons at
their source — in the intestines, before they can get
into the blood. Many get amazing results in 30
days or even less! Get Fleisehmann's Yeast nov.
Eat 3 cakes a day — one before each meal — until
your skin is clear and fresh again.
REMOVED WITH
CORN J CASYOROIL
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Say goodbye to clumsy corn-pads and dangerous razors.
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I
FARR^S FOR GRflV HfllR
107
THE TRI-GUILD
BALL
Writers, directors and players at
their colorful, annual get-together
Troupers tried and true — Edward Everett
Horton and lovely Irene Rich.
Darryl Zanuck between two pretty
-Dolores Del Rio and Virginia Bruce.
Bob Montgomery and his pretty Missus,
Betty, with Walter Connolly.
Miriam Hopkins talks things over with your Comedians all — Gracie Allen, Mary Living-
old favorite, Dick Barthelmess. stone, Bob Burns and Jack Benny.
108 rriiiU'ii ill the U. S. .\. by Alt Color I'vinlin); Oompiiny. Dunellen, N. J.
ising
A furious drama of two young lovers
currents of war!
Recklessly they went their separate ways. Norma to absorb the sordid
drabness of her life in the dangerous paths of
espionage — Marco to take up arms for the
Spanish earth, the Spanish people he loved
so well.
But they meet again — victims of Fate — amidst
the scream of star shells — the reek of black
powder — and the frightened cries of women
and children.
. torn apart by the seething cross
Jlomances
Jail in with the ar mj
of happy smokers who know
that Chesterfield's milder and
better taste realltf satisfies
esterfield
the right cigarette for
MORE PLEASURE
Copyright 1938, LiccETT & Myers Tobacco Co.
HUNDREDS OF INTIMATE PICTURES!
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Put yourself in this picture. Dancing with
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throbs with love . . . he will hold you
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with the perfume of Nature's flowers.
And Lander's Blended-Flower Talc will
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that absolutely captivates a man. Try the
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And these two exotic perfumes are
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When a man takes you in his arms, you're
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AT All
lOi STORES
MODERN SCREEN
THE WORD THAT CAROL
HtVtn HEARS IS . . rOARilNG
##
No woman who offends with underarm
odor can ever win out with men
SHE MEETS NICE MEN— plenty of them.
And she still dreams that some day
one of them will fall in love with her.
For she's a charming girl— Carol!
She does worry, though. It seems odd
that men so seldom ask her for a second
date. It isn't as if she weren't pretty
enough— or easy to talk to. And she
thinks she's careful about her person.
After all, doesn't she bathe each day?
Foolish Carol! Like so many girls, she
trusts her bath alone to keep her sweet!
She fails to realize that baths take care
only of past perspiration. ..that they can't
prevent odor to come. ..that underarms
must have special care.
Smart girls, popular girls, use Mum.
Mum is a gentle, pleasant cream that
prevents underarm odor before it ever
starts. With Mum you never, never risk
offending those you want for friends.
MUM IS QUICK! A half minute is enough
to smooth Mum into each underarm.
MUM IS SAFE! Gentle Mum is actually
soothing to the skin— you can use it imme-
diately after shaving the underarms. And
Mum is harmless to every kind of fabric.
MUM IS SURE! Without stopping perspira-
tion, Mum banishes every trace of odor for
a full day or a full evening. To be a girl
men ask for dates, a girl who wins and
holds romance, always use Mum!
ANOTHER IMPORTANT USE FOR MUM
—Thousands of women use Mum for Sanitary
Napkitzs because they knotv it's safe, sure. No
worries, when you use Mum this way, too!
A TIP TO GIRLS WITH A DATE TONIGHT
TO HCKSCLf:
MUM NEVER LETS A
GIBLDOWN! BILLS BEEN
GIVING ME A RUSH ALL
EVENING LONG
TAKES THE ODOR OUT OF PERSPIRATION
©CIB 384114
JUL -1 1938
MODERN SCREEN
eye bepiuty piids
CjLAMOUR! — elusive enchantment —
did you know that "your eyes have 1 1"
more than any other feature? Don't let it
slumber there — touch MaybelUne Mascara
to those neglected lashes with a f ew simple
upward strokes of the dainty MaybelUne
brush. Deepen the mascara at the outer
edges to make your eyes appear larger,
farther apart, more expressive. Then see
what long, dark, silky, luxuriant lashes you
have. Maybelline is harmless, tear-proof
and non-smarting.
• Next — eyebrows. They hold the secret
to your individual expression and charm.
Sobe sure you accent them — use thesmooth-
marking Maybelline Eyebrow Pencil.
• Then— a bit of creamy Maybelline Eye
Shadow on your upperlids — blend itfrom
the center outwards toward your temples
for the most delightful effect.
• At night — gently smooth a bit of
Maybelline Eye Cream into the sensitive,
tender skin around your eyes. It will help
ward off those persistent little crowsfeet
and eye wrinkles that mar one's beauty.
• Discriminating women all over the world
rely on these exquisite Maybelline aids to
glamour. You, too, will be delighted with
the added charm, beauty and expression
they will give you.
• Maybelline Solid-form Mascara in
gold metal vanity . . . 75c. Refills . . . 35c.
Maybelline Cream-form Mascara in dainty
zipper case . . . 75c. Both come in Black,
Brown. Blue. Maybelline Eye-brow Pencil,
in Black, Brown, Blue (blue used as
eye-liner), Maybelline Eye Shadow, in
Blue. Blue-gray, Brown. Green, "Violet.
Maybelline Special Eye Cream. Purse sizes
of Maybelline Eye Beauty Aids at 10c
stores. Insist on Maybelline 1
Copyright, 1938, by Dell Publishing Co., Inc.
Regina Cannon Editor
Leo Townsend Hollywood Editor
Abril Lamarque Art Editor
NOW SHOWING
DUAL PERSONALITY 9
WHAT'S BECOME OF THE GOOD SCOUT? 26
"WHY SHOULD I MARRY?" 28
SHE WANTS TO BE MARRIED 30
BECAUSE SHE LOVED HIM SO MUCH 32
RUGGED INDIVIDUALIST 34
TO BE OR NOT TO BE 36
BUBBUNG BILLIE 38
SPLINTERED ROMANCE 40
EVERYTHING'S UNDER THE SUN 42
WHAT MAKES A MAN FALL IN LOVE? 44
MEMO ON MILLAND 46
GET IT WHILE YOU CAN, GIRLS 47
IT'S FASHIONABLE TO BE FEMININE 48
CALAMITY JANE 50
I WANT MY MONEY 52
JACKIE SHOULD HAVE HIS MONEY 54
"MY SON HAS MONEY" 56
MACK HUGHES
KATHARINE HARTLEY
GLADYS HALL
MARY MAYES
KAY FRINGS
JAMES REID
CAROLINE S. HOYT
DORA ALBERT
JAMES REID
MARY MARSHALL
LILUAN GENN
BEN MADDOX
ROBERT MclLWAINE
MARIAN SOUIRE
GEORGE BENJAMIN
JACKIE COOGAN
BETTY GRABLE
RUTH RENICK
SHORT SUBJECTS
MOVIE REVIEWS
6
WHAT TO SEE
TWO LANES TO FOLLOW
10
NEW RECIPES
OUR PUZZLE PAGE
12
MOVIE X-WORD
INFORMATION DESK
14
THE BAROMETER
BETWEEN YOU 'N' ME
16
PRIZE LETTERS
PORTRAIT GALLERY
19
FOR YOUR ALBUM
GOOD NEWS
62
LATEST GOSSIP
HEAD OF THE CLASS
68
KNITS FOR SCHOOL
Modern Screen, No. 301773. Published monthly by Dell Publishing Company, Incorporated.
Office of publication at Washington and South Avenues, Dunellen, N. J. Executive and
editorial offices, 149 Madison Avenue, N. V. Chicaso, III., office, 360 N. Michigan Avenue.
George T. Delacorte, Jr., President,- H. Meyer, Vice-President; J. F. hienry, Vice-President;
M. Delacorte, Secretary. Vol. 17, No. 3, August, 1938. Printed in the U. S. A. Price in the
United States, $1.00 a year, 10c a copy. Canadian subscriptions, $1.00 a year. Foreign
subscriptions $2.00 a year. Entered as second class matter, September 18, 1930, at the Post-
office, Dunellen, Nev^ Jersey, under act of March 3, 1879. Additional second class entries
entered at Seattle, Washington; San Francisco, California; and Houston, Texas. The publishers
accept no responsibility for the return of unsolicited material. Sole foreign Agents: The Inter-
national News Company, Ltd., 5 Breams Building, London, E.C. 4, England. Names of chor-
acters used in stories and in humorous and semifictional matter are fictitious. If the name of a
living person is used it is purely a coincidence.
\ MODERN SCREEN
i
MO^ME REVIEWS
Vivacious Lady
ftrst solo s«
c."> most »>?I*t <!«
atnatics alone- ^^^-^ season. !"'^"Aef,oite
s »/or>si:.a™r^j^rs5^^ =o.-
written an**";,; tke as°.oci»« P",''"y„?L and i«o™;
fen? George Stevens directed
*'*r^'^ ' 1 - davs of talk-
the memorable f^f\f,^'\%Ton and scores a
"HoUd^>-: rtturns'^n T stregnUned 19^^^^ Gary Grant th.s^^^.^^
ani «n ftand on .s o.n ^ ,
role takes 'ii'", f- v,es bim as o"*;, renegade 1-'^'^?^.. myen since
-,nitely * Hepbv^«;..^l»^rnerforVance_she ^_ gne^ ^^^^^^
definii
brilliant .^"^fd— Coin '"bio- .—
Cukor directed. mm
Three Comrades
^ ^.T.ria Remarque 3
-JH^* Three ^^orv of Cer
. - . Erich Maria Remarque = st.or.^^
A. ^--n^r^ff ' ;l^r^a^r:fd ^^^^^^ te^^Ts adiAt
„ne ot those rare v^^^ »°f,.f„r. Franchot Tone^%„nclusior
.ciousness, tra - ^^.^^^ see
■es you can «e' ; pictures ot tne >
^ne ot those rare Pi^^^'-.ie most^^s^^^^^^^^^^^^ .n^^conc^u^n
-^^Krcom^ade-^^^^^^^^
shop and i^esign ^ ^^^^^ ^='^^°Ji;L taken her mone% ^ n^vau
Soon Young dies 4^.^^j„,,s, \^^^l^^^^^,,u\n^^s " "ifbrilUant and
the men ate e- gorzage direct
the three, iram- _ —
6
BY LEO TOWNSEND
*★* Alexander's ^^^f,!"?!.,.,.
Band uP/° „=t every one of tUe ni"' entertainment. l-"*:
sponsible for alm°|^f,;^ ^Band" is ^^^^^f^^ Unimportant. There
bar), ^}^^\, and Berl n's new hit W"^; ^tine, and m adai
Chick Chandler) ^"'^,/;%i,ree principals are .ro"J" ' i^ture covers
^^Performances by thr^'hought that ^^^^"l^^*\^es more than
tion there is t^^^/^fenty years, none of the^tars a « ^
^ P^^iltt he supporting ca^^^J^rn'ln 1" i-nish bright
moments, ncmy
*** White Banners
. . f„ii r,f the pl:
h.ppinMs'V i 'se films will , ;„ Smances ate all top-
Mr Douglas preacnes followers that a uo ^^.j^j
Where Mr. Carnegje^e Us^ns mildly msists that Ute
;t is a wmnmg one, Mr. ^^^^^y ??f"'^„hv through the medium
*★ Yellow Jack ^^^^^
,l,e Sl>anisl.-A»«™»„™e. ',„«,. »"""X.v . t°»l vicM, of «
■oup of men wno
Mdi'cal" science photographed stage P'^y , f or it empl^^^^
"The film is abnost a phot g^^^^^^^ u > > .oinetimes
two or three sets. 1 yellow fever. . - - -
cover a cure for the « ^^^^.^^^^ ,s 1 ^^
•aliant eftort
• s praise,
to deviate from
V ( ilie Irish sergeant m
ooci. in the role o\/ ; ,e ^nd manages.
her perfonnancejs sat^.
hy George Se^^ -^^^^ ^^^.^^^ page 84
Pick your pictures by our reviews ond you will enjoy them so much more
MODERN SCREEN
Cagney meets O'Brien for the first time
since "Ceiling Zero.". . . And the stage
^ hit that tickled the nation slaphappy
for over two years, now floods the
screen in a deluge of pyous laughter!
STAGE PLAY PRODUCED BY GEORGE ABBOTT
TAGNEYJOBRIEN
WITH
MARIE
WILSON
RALPH
BELLAMY
FRANK MCHUGH • DICK FORAN
Directed by LLOYD BACON
SCREEN PLAY BY BELLA AND SAMUEL SPEWACK
MAKE A DATE FOR "BOY MEETS GIRL" AT YOUR FAVORITE THEATRE
Joe and his pretty missus tear
off a tune.
A TRAGEDIAN'S ambition is invariably to play
comedy, and the clown always has a burning desire
to do Hamlet. Life's real tragedy seems to be that
us mortals are never satisfied when we do a good
job. Oh, no, there's always just the thing, we think,
we're best suited for, to be accomplished somewhere
in the future.
Joe Penner, however, is the exception that proves
the rule. A veritable Pagliacci, he goes to work
when the camera grinds and makes us laugh no
matter how many nip-ups that heart o' his is doing.
However, Penner does not want to play tragedy.
In fact, he knows his forte, is comedy, even though
it's on the hokum side.
"I'm strictly a Chaplin comedian," Joe began in a
whisper. "The difference is that Chaplin doesn't
work with his voice, and I talk. But, no cracks about
the way I'm talking now ! You see, I've been under
the weather for a few days. I took Red Sharkey
and some of his friends to the ball game the other
day and of course it would rain. My box was in
the open so we had to scamper to the grandstand.
The result was that wlien I got the kids under
shelter there wasn't room for me, so I sat on a damp
cement step. Well, I've been in bed for the past two
days, and I've got to leave for the coast tomorrow.
With my first day taken up with a business confer-
ence at the office here, and the next two in bed,
about the only thing I've seen of New York is that
ball game that did me in. Oh, yes, the setting is
all right if you've got to stay {Contimtcd on page 84)
DUAL
PERSONALITY
BY MACK HUGHES
A laugh-getter on the screen, a
worrier, off, Joe, of the Park Avenue
Penners, is ever the philosopher
Mr. P. takes everything big —
including his ice cream!
TWO LANES
TO FOLLOW
J
Priscilla and Rosemary Lane enjoy some pineapple treats.
WITH SUMMER at hand you'll be glad to hear that pine-
apple— most cooling and taste-tempting of fruits — engages our atten-
tion. It also interests Priscilla and Rosemary Lane in our illustra-
tion, which shows these two charming members of that delightful
Lane "foursome" of sisters, lunching in the studio Green Room.
Their choice of foods is no surprise. In fact we
could all profit by following their example fre-
quently. Especially during the hot weather,
for I can think of no dishes more zestful,
more welcome on a warm summer day,
than those which feature perennially
popular pineapple in any one of the
many styles in which it is canned.
This golden fruit certainly can
boast not only of its ability to
travel along in fine fettle on its
own merits, but also of its happy
faculty of combining so beauti-
fully with other foods. With di-
verse fruits in beverages and
other summertime treats, for
instance ; with salad greens ;
in gelatin and milk desserts ;
with cream and cottage cheese,
etc. Also, its unmistakable
and welcome flavor adds great-
ly to the appeal of seasonable
sherbets and ice creams.
Excellent examples of pine-
apple dishes at their best are
those that Priscilla and Rose-
mary were so obviously enjoying
when we calmly interrupted their
midday repast to take pictures ! Pris-
cilla— like so many Hollywood beau-
ties— was "watching her calories" (with-
out in any way cutting down on her food
enjoyment) by eating a most appetizing yet
thinning summer salad. This consisted of a
slice of canned pineapple topped with a generous
mound of cottage cheese. Surrounding this luscious com-
bination were thin slices of peaches which had been dipped in
pineapple juice to retard discoloration. (Remember this one!) Gen-
erous wedges of lemon were served with this salad, in lieu of a
dressing. However, for those less concerned about their "figgers" a
mayonnaise or even a French dressing could be used.
As a welcome change, and as an even more partified version of
this well-liked cheese-pineapple combination, you can have the
"Bridge Party Salad" pictured here.
Rosemary's choice — and a mighty refreshing one, too
— had both an intriguing "title" and "make-up."
"Coupe Hawaiian" it was called, and I in-
BY MARJORIE DEEN
sisted then and there upon knowing how it
was made. You, too, after trying it, will
agree with Shakespeare's statement
that "Rosemary's for remembrance !"
BRIDGE PARTY SALAD
1 tablespoon gelatin
2 tablespoons cold water
1 (14 oz.) can pineapple "gems"
pound cottage cheese
y\ teaspoon salt
cup mayonnaise
2 tablespoons lemon juice
1 cup cream, whipped
Yi cup diced celery
Maraschino cherries for gar-
nishing
Soak gelatin 5 minutes in cold
water. Drain pineapple, re-
serving the fruit. Add enough
water to pineapple liquid to
make cup juice in all. Bring
to a boil. Remove from heat, add
soaked gelatin : stir until dissolved.
Courtesy Dole Mash cheese through a food mill or
This Bridge Party Salad is as .^^ tlil"Sd ■ ^^toZJ
good as it looks! gelatin mixture. Chill. When mixture
begins to thicken, fold in whipped cream,
celery and -}4 cup of the pineapple gems. Turn
into individual molds. Chill in refrigerator un-
til firm. To serve : Place remaining gems on large
serving dish. Unmold and arrange gelatin salad around
them (see illustration). Decorate each serving with sliced
pmeapple juice to retard discoloration. ( Kemember tins one ! ) ijen- maraschino cherries. Garnish platter with salad greens (lettuce,
erous wedges of lemon were served with this salad, in lieu of a romaine, endive or watercress). Pass mayonnaise, which has been
And you won't go far wrong when those peppy Lane gals lead the way to
10
MODERN SCREEN
thinned to the desired consistency with
cream or a little pineapple juice.
PINEAPPLE CREAM SHERBET
(for Coupe Hawaiian)
1 (no. 2) can crushed pineapple
% cup powdered sugar
Yi cup water
2 teaspoons gelatin
2 tablespoons lemon juice
1 cup cream, whipped
K cup granulated sugar
2 egg whites, beaten stiff
Yi teaspoon salt
Drain pineapple, reserving fruit. Combine
pineapple juice with the powdered sugar and
Ya cup of the water, in a saucepan. Boil
slowly for 10 minutes ; remove from heat.
Meanwhile soak gelatin in remaining Ya cup
water for 5 minutes, then dissolve in the hot
pineapple liquid. Add pineapple pulp and
lemon juice. Cool. Place in freezing tray
and freeze until consistency of mayonnaise.
Whip cream, gradually adding the granu-
lated sugar. Add salt to egg whites and l;)eat
until stiff. Combine beaten egg whites and
cream. Remove slightly frozen pineapple
mixture from freezing tray to an ice-cold
bowl and beat with a rotary beater until it
it full of air bubbles. Fold in cream and
egg white mixture, gently but thoroughly.
Return to freezing tray and finish freezing.
COUPE HAWAHAN
1 (no. 2 Tall) can pineapple "spears"
1 teaspoon lemon juice
1 cup sugar
1 peach, fresh or canned, sliced thin
Y2 cup sliced berries
1 tablespoon sugar
1 small bottle maraschino cherries
whipped cream, sherbet
Drain pineapple, reserving fruit. To
pineapple juice add lemon juice and sugar.
Boil together 7 minutes. Chill. In each of
4 tall dessert glasses place 3 pineapple
"spears" standing upright around the edge
of the glass. Combine sliced peach, berries
and the tablespoon of sugar. Sprinkle with
the juice drained from maraschino cherries.
Place an equal amount of this fruit mixture
in bottom of each dessert glass. Place in re-
frigerator until serving time. Fill glasses
three-quarters full with Pineapple Cream
Sherbet. Pour over each serving a little of
the chilled pineapple syrup. Top with
whipped cream, garnish with maraschino
cherries and serve immediately.
In Hollywood, as elsewhere, iced fruit
beverages receive their share of attention
as a change from the usual iced tea or
coffee. The following is an excellent ex-
ample, and incorporates a sugar syrup sug-
gestion that you will want to remember.
PINK PINEAPPLEADE
1 cup boiling water
1 cup sugar
VYi cups pineapple juice
Yd, cup raspberry juice (drained from
canned raspberries)
2 cups cold water
juice of 2 lemons
fresh mint
Make sugar syrup by combining boiling
water with the sugar and boiling together
for 5 minutes. Pour into a jar. cover and
keep in refrigerator for sweetening this
and other cold drinks — without leaving a
wasteful deposit of sugar in the bottom of
the glass. Combine pineapple juice and
raspberry juice. Add cold water and lemon
juice. Sweeten to taste with sugar syrup
Capproximately Y2 cup). Chill. To serve:"
Place a sprig of mint and ice cubes in each
glass before pouring in beverage. (Ginger-
ale ice cubes are a delicious addition.)
cool summer tempters!
Three mistakes
. . . in the "bride's house!
Spic— and— span new, xhe vanity skirt was something to make
friends chirp with delight. But not after the little
bride tubbed it. Her lazy soap just couldn't wash
clean. And nobody had the courage to tell her — "Change
to Fels-Naptha Soap. It gets all the dirt!" ^ —
Banisn "Tattle-Tale Gray" with FELS-NAPTHA SOAP
NEW! Great for washiug machines!
copR. 1038, PELS a, CO. Try Fcls-Naptha Soap Chips, too!
11
MODERN SCREEN
— are soft . . . natural!
Men detest that ugly "painted look". Only
Tangee can give your lips this lovely natural
glow— it's the only lipstick with the famous
Tangee color-change principle.
Orange in the stick, Tangee actually changes
on your lips to a warm blush-rose— exactly
your shade whether you're a blonde, brunette
or red head. Won't smear or leave red marks
on teeth or handkerchiefs. Special cream
base keeps it on... hours longer. Get Tangee.
39^ and $1.10. Try Tangee Rouge and Powder,
too, for a natural matched make-up.
THIS SUMMER, use Tangee Creme Rouge, waterproof. Never
streaks or fades — even when you're swimming.
Untouched — Lips left
untouched are apt to have a ^ '
faded, parched look.
Greasy, painted lips—
Don't risk that painted look.
Men don't like it.
Tangee lovable lips —
Intensifies natural color,
ends that painted look.
Tl World's Most Famous Lipstick
ENDS THAT PAINTED LOOK
BEWARE OF SUBSTITUTES! There is only
one Tangee — don't let anyone srvitch you. Be sure
to ask for TANGEE NATURAL. If you prefer more
color for evening wear, ask for Tangee Theatrical.
4-PIECE MIRACLE MAKE-UP SET
and TANGEE CHARM TEST
The George W. Luft Co., 417 Fifth Ave., N. Y. C.
Please rush "Miracle Make-Up Set" of sample
Tangee Lipstick. Rouge Compact, Creme Rouge and
Face Powder. I enclose IOC (stamps or coin). (15^
in Canada.) Also please send Tangee Charm Test.
Check Shade of □ Flesh □ Rachel □ Light
Powder Desired Rachel
Navie
Address .
City
NiiiiiiijMniiMiiuMiiiMMiiuiiiiiiiiiiuiniiMiiiiiiiniiiniiiiiiiuMHinniiiMiinMiiiiiiiiiiiinKiiiiiMiiiiMiiiMiiuiiniiiiiiiuiiiiMJiiMniiiiiiijiiiiiiiMiiMiMiniMnni^
OUR PUZZLE
S5
29
57
4-6
4-7
36 1^^^
43
?6 ^m^7
3&
42
10
28
39
144-
12
20
24-
i3
14-
141
45
79
87
93
97
98
50
99
Puzzle Solution on Page 75
ACROSS
1. First name of star pictured
6. "Gift of - - -"
9. Middle
12. Last name of 1 across
17. Star of ''The Adventures of Robin
Hood"
18. Past
19. Hail!
20. Open to view
21. Princess de Lamballe in "Marie An-
toinette''
22. Fonda's wife in 70 down
24. What iihn stunt men require
25. That which is retained
27. Odeum
28. Beatrice Harris in "Men Are Such
Fools"
29. Ilona Ma y
30. Color
32. Madge in "Little Miss Thoroughbred"
33. Veterinary : coll.
34. "Dead "
35. Prefi-x meaning three
37. Reverberated
39. Heroine of "Law of the Plains"
4L Limb
42 Male star of "You and Me"
44. Hillbilly comedienne in "Thrill of a
Lifetime"
46, Mrs. Dan Topping. Jr.
48. James Flowers in "Hunted Men"
51, Made love
ilMiiiiiniMMiiiiitli
iiiiii'iiiiiiittiiitiiiitiiiNniiiMiitiiiiiiniiMitiiii
52. K - - - i Gallian
53. Me - - - Oberon
55. The Ordinal
56. Vat for storing green fodder
57. Falsehood
58. Lowing of a cow
61. Our star was in "That Wo-
" man"
64. Massachusetts city of our star's birth
66. Pungent garden vegetables
67. Nora in "King of the Newsboys"
70. Opera star in "The Goldwyn Follies"
72. " Stop New York"
74. Ann Borg
75. Mrs. Charles Laughton's first name
76. Compass point
79. Wallace B y
80. "The - - - of Madelon Claudet"
81. Ricardo Cor
83. Greek letter
85. Make a choice: rare
87. Joan Blondell's sister
89. Morley
91. More weird
93. Pertaining to the largest continent
94. Beat soundly
96, The Princess in "The Adventures of
Marco Polo"
97, Evade
98, B ta Granville
99, le Gallienne
100, Roman highways
101, Dirks
102, Consumed
103, Deposit
104, Mandingo palm nuts
iiirMiiiiiiiiniiiMiMiniiMititiniiiifiiitii;iiiiti(lllininiltiniiMiiri
12
MODERN SCREEN
([iiiiitiitrHiriMriiiiniriifii!iiiiMiniiiiiriiiiiiiniriiiriiiiiiMiiiitiiiMrriitr[itiiiiiiiiiiiiir'.;f
P A G E I
DOWN
10.
11.
12.
13.
14.
IS.
16.
23.
26.
28.
31.
33.
36.
38.
40.
41.
43.
45.
46.
47.
49.
50.
51.
54.
56.
58.
59.
60.
61.
62.
63.
65.
68.
69.
70.
71.
72.
73.
77.
78.
79.
80.
82.
84.
86.
90.
92.
94.
95.
, Wild animals
Marco Polo's companion in that film
More hackneyed
Transport
South African antelope
Girl : slang
Premium paid for exchange of one cur-
rency for another
Our star was in "Of Human "
Pertaining to Freemasons
His last name is Lebedeff
16th century ruler of Tunis
Hero of "Knight Without Armor"
Assert
Mrs. Adolphe Menjou
Norma Shearer's late husband
Spirited horse
Cave
Louis XVI in "Marie Antoinette"
Become : obs.
Having organs of hearing
Comedian Barnett's first name
Eskimo dwelling
No good : abbr.
Egyptian sun god
Laboratory : coll.
German article
Large vessel
Month of our star's birth
Contest of horsemanship
Hero in "Merrily We Live"
Heroine of "The Lady in the Morgue"
Producer Lesser's first name
Age
Judge Hardy
vyn Douglas
Maid Marian in "The Adventures of
Robin Hood"
Douglas in "Kidnapped"
Growth of small trees
Ensiform
"Rose of the Grande"
Pale
An alleged force
First name of Mrs. Kalmus of Tech-
nicolor
Our star's most recent film
Ole in "Little Miss Broadway"
Our star's married name
Alloy resembling gold
An evening party
Genus of spiders
Interjections
Trigonometrical functions
Epoch
Shield
Lock of hair
"The of Paris"
Marty Weston in "Mr. Moto Takes a
Chance"
Star of "The Girl Was Young"
Our star's real first name
Large snake
Hero in "Her Jungle Love"
iiiiiiiiiiiiiiiriJiiriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiii iiiMiiii iiiiMiiiii^
Ridings Waikiki Waves
if
• Lithograph by Robert Ricgs
A thrill from Hawaii is Dole Pineapple
Juice. Pure, natural, unsweetened — its
exciting flavor is ideally protected by the
exclusive Dole Fast-Seal Vacuum-Pack-
ing Process.
Hawaiian Pineapple Co., Ltd., also packers of Dole
Pineapple "Gems," Sliced, Crushed, Tidbits, and
the now "Royal Spears." Honolulu, Hawaii, U.S.A.
Sales Offices: San Francisco, California.
an
13
MODERN SCREEN
KNIGHT
OF ROMANCE?
FAIR DAMSELS knew that the bravest knight
could be a willing slave to an alluring perfume...
KiOBERN ROMANCE follows the same rules.'
The girl who clothes herself in the magic fra-
grance of Djer-Kiss Talc has her gallant knight
always at her beck and call.
START your day the Djer-Kiss way! Bathe
your entire body with this delightful
talc each morning. Djer-Kiss keeps you
dainty and refreshed all day . . . Helps you
stay cool, for it actually lowers body tem-
perature. Clothes feel more comfortable . . .
Makes you alluringly fragrant. Use Djer-
Kiss generously, for the cost is surprisingly
small . Buy it today at drug and toilet goods
counters— 25c and 75c sizes. Liberal 10c
size at all 10c stores.
The same delightful fragrance in Djer-Kiss
Sachet, Eau de Toilette and Face Powder.
YOURS FREE— the exciting new book,
"Women Men Love— Which Type Are You?"
— full of valuable hints on
how to make yourself
more alluring. Just send
^a post card with your
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Parfums Kerkoff, Inc.,
Dept. D, New York.
genuine imported talc
scented with Djer-Kiss
perfume by Kerkoff, Paris.
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TALC
KERKOFF • PARIS
14
150/ '^f.
INFORmATION
You ask the questions— we'll answer them
XELSOX EDDT: A glance
at the barometer that
tops this page tvIII tell
you without further ado
why this blonde giant
rates a word from this
department right here
and now. So here are the
statistics. Kelson Eddy
was born in Providence,
Rhode Island, June 29, 1901. Among his
ancestors were President Martin Van Buren,
and Caroline Kendrick (his grandmother,
and a famous singer of her day.) Both his
father and mother were also excellent sing-
ers, and young Nelson made his vocal debut
early as a boy soprano for All Saint's and
Grace Churches in Providence. He was edu-
cated at Rhode Island Normal School. For
five years he was a reporter and copy reader
on Philadelphia newspapers. Later he
wrote advertising for two large agencies.
He studied with several Philadelphia teach-
ers, and learned operatic arias from phono-
graph records. His first stage appearance
was in 1922. He made his New York debut
in 1924 as "Pagliacci." Several years later
he sang at a concert in Los Angeles, and
made such a brilliant success that within a
week he was signed to a long-term motion
picture contract. Nelson Eddy's first movie
was with .loan Crawford in "Dancing
Lady." But picture success came slowly
at first. It was two years after "Dancing
Lady"' that the "right" picture came along.
Then, opposite .Jeanette JIacDonald, he was
given the male lead in "Naughty Marietta,"
and practically over night he became a
screen sensation. There followed "Rose
Marie," "Maytime," "Rosalie," and "Girl of
the Golden '\Vest." His next pictures will be
"Balalaika," and "Adventure for Three."
Nelson Eddy is six feet tall, weighs one
hundred seventy-three pounds, has blonde
hair and blue eyes. His favorite sports are
swimming, riding and tennis. Eddy sings
thirty -two operatic roles. Besides English
he sings in French, Italian, Spanish, Rus-
sian and Yiddish. He prefers Wagnerian
opera. He has made many successful na-
tional concert tours, has appeared as guest
soloist with several choral organizations,
and has been in Europe three times where
he was invited to sing in opera, though he
never accepted. His fans hope he'll stay
right here for a long time to come.
GR.4CE MOOBE: This
golden voiced, golden
haired, vivacious lady of
a dozen different careers
believes that every one
should hitch his wagon to
a star, then reach for it
through personal effort.
She evidently practises
what she preaches too,
for we can't think of anyone who has
achieved outstanding success in so many
varied fields. She is not only a grand opera
prima donna, a musical comedy star, a con-
cert singer and a radio entertainer : she is
also a perfect cook, expert sportswoman, a
charming hostess, a happy wife, and the
idol of countless thousands of admirers
from kings and queens to the humblest of
us movie-goers. Born in Jellico, Tennessee,
December 5, 1901. she was one of five child-
ren, and originally wanted to be a mission-
ary to China, But while in school at Ward
Belmont in Nashville, she heard Mary Gar-
den sing, and immediately changed her am-
bitions. She persuaded her parents to send
her to a music school near "Washington,
D, C, but they still disapproved of her
operatic ambitions, so she ran away to New
York. She lived in Greenwich Village, and
for six months Grace Moore sang in a res-
taurant for her suppers. Then she lost her
voice and had to rest for six more months
before it returned. After that she sang in
musical comedy to get money to study
opera, and in 192S she made her Metropoli-
tan Opera debut in "La Boheme." She sang
there for three seasons, then tried her hand
at the movies. Her Urst two pictures flop-
ped, partly because sound recording de-
vices were imperfect, partly because she
herself probably wasn't ready for pictures.
HUNDREDS OF ADDRESSES
FOR A STAMPED ENVELOPE!
Want to know your ■favorite player's
address? In fact, would you like to
have a complete list of all the Holly-
wood stars' mailing addresses? It's yours
for the asking. So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan letter,
that we've compiled a complete list for
you, naming the players alphabetically,
according to their studio, and giving
their complete mailing addresses. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want It.
To receive one of these lists, all you
have to do is write to us and ask for
it, enclosing a large self-addressed and
stamped envelope. Don't forget that
last item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N, Y.
MODERN SCREEN
So she continued to study and sing-. In 3931,
in Cannes, France, .she married Valentin
Parera, the Ronald Colman of Spain, with
whom she i.s still very much in love. In 1934
Grace Moore returned to Hollywood to
make the picture "One Night of Love." This
time it was a complete and glorious success,
and the four pictures which followed have
added to her tremendous popularity. These
were "Love Me Forever," "The Kiiag Steps
Out," "When You're in Love" and "I'll Take
Komance." Grace Moore collects prize cook-
ing recipes, etchings and prints. She loves
emeralds and is interested in public events.
She swims and rides expertly. She also
plays a good game of poker, but doesn't
drink or smoke. She adores riding on Fifth
Avenue buses, and still considers a choco-
late ice cream soda a grand way to make
"whoopee." She once was selected by the
late Florenz Ziegfeld as one of the ten'most
beautiful women in the world, and by a
famous international photographer as one
of the thirteen supreme beauties. Miss
Moore's superb voice, and her great charm,
born of radiant health and inspired vitality!
have made her one of the screen's truly great
personalities.
GENE AUTBY: 'Tis said
that this public cowboy
number one recently re-
ceived 40.000 fan letters
in one month, and by the
number of inquiries di-
rected to this desk we
aren't surprised. Gene
himself just can't figure
out all this popularity.
"Maybe it's 'Champ' they like instead of
me," he suggests modestly. ("Champ" is
his thoroughbred black and white Oklahoma
horse.) But our guess is that his populari-
ty has something to do with his good hu-
mored, unaffected charm, and that mellow
tenor voice of his. Gene Autry is his real
name, and he was born in Tioga, Texas,
September 20, 1908, He is five feet, ten and
a half inches tall, weighs one hundred
seventy pounds, has reddish brown hair and
blue eyes. His parents still live on a cattle
ranch in Oklahoma. His father is a minister
in the little town of Ravina. Gene has been
warbling ever since he can remember. He
started out by singing In the choir of his
grandfather's Baptist church. "U'hen he
was fourteen he bought a steel guitar and
learned to accompany himself. At eighteen
Gene became a railroad telegraph operator,
and together with .Timmy Long, another
singing railroader, he wrote "Silver Haired
Daddy of Mine," one of the most popular
songs of its kind. Since then he has written
both words and music for over two hun-
dred cowboy and hillbilly ditties. His voice
has been recorded by practically everv big
recording company, and since ioso he has
sung on many big radio programs. Since he
began making pictures in 19.34 he has
starred in some thirty popular "Westerns."
He is happily married and lives on a ranch
in San Fernando Valley, near Hollywood.
His hobby is raising and training thorough-
bred Western horses. "Champion." his fa-
vorite mount, is considered one of the finest
horses in pictures. "Champ's" saddle, brld-
dle and brea.st-piece are trimmed with sterl-
ing silver. Gene's own cowboy raiment is
elaborate and authentic, because, as Gene
says, when he appears in public, "the kids
expect you to look like a cowbov. and you
can't let them down." Gene Autrv's next
two pictures will be "Gold Mine in the Sky"
and "Old Faithful."
(Continued on page 90)
INFORMATION DESK. MODERN SCREEN.
149 Madison Ave.. New York. N. Y.
Please print, in this department, a brief life
story of: .
Name '
Street
City State
If you would like our chart with weights
heights, age, and Ijirthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
When your baby is suffering
KN01V what to do !
Don't be helpless when an emer-
gency arises ! Every mother
should know what to do. Don't trust
to luck that your household will
escape emergencies. You may be next.
Be prepared!
At your drug store you can now get
(while they last) a copy of Dr. Allan
Roy Dafoe's new book — free with a
purchase of "Lysol" disinfectant.
Few doctors have had to deal with
home emergencies as Dr. Dafoe has.
Great distances, hard travel, in the
Canadian back country forced him
to teach his people what to do in
emergencies till he got there. Now
the benefit of this experience is yours,
free! Accept "Lysol's" offer of first-
aid facts. Ask, when you buy "Lysol",
for your copy of Dr. Dafoe's book.
Used in the care of the
Quintuplets since the day
they were born , . .
FREE! Dr. Dafoe's Book on Home
Emergencies, 32 pages, 53 sections.
Do you know how to . . . Dress a wound Treat
animal bites.? Give artificial respiration? Re-
lieve sudden illness.? Stop hiccups.? Revive an
asphyxiated person.? These are just a few of
many subjects this book covers, in clear, simple
language anyone can understand. Free with
any purchase of "Lysol", for a limited time.
If your drug store cannot supply you —
moll this to
LYSOL, Bloomfield, N. J. Dept. 8-M.S.
(F.nclosc "Lysol" carton trout. Dr. Dafoe's
book will be sent at once, free and post-paid.)
Sams _
.UJr,
15
MODERN SCREEN
RINSE OFF
UNWANTED HAIR
This Quick, Easy Way!
Legs are in the spotliglit! And men just
won't forgive the girl whose legs bristle
with untidy hair. So — whether at the beach
or clad in sheer silk stockings — be sure
your legs are smooth and feminine !
Just spread NEET (like a cold cream in
texture) on unwanted hair. Then rinse off
with water. That's all! NEET removes
all hair . . . leaves your skin satin-smooth.
Avoid Unpleasant
Razor - Roughness
Say good-bye to rough skin and sharp,
wiry hairs that grow in after shaving.
There is no razor
stubble to snag your
stockings and cause
runs— and no danger
of cuts — when you
use the safe and con-
venient NEET way.
BETWEEN YOU'N'ME
Magnitied view of eharp
briefly hair after ehuv-
ing. Snage stockings.
NEET removes hair
closer than razar^leaves
no rough ruaor stubble.
Beach wear, shorter
skirts and summer
dresses call for
smoother, hair- free arms and legs. Do as
millions of women do — remove unsightly
hair with NEET. Get it
today. At drug and dept.
stores. Generous lOji size
at all ten-cent stores.
NEET
Just Rinse Off
Unsightly Hair
A fan from Detroit declares that
Napoleon's hair did a flip-flop
act in "Conquest."
$5.00 Prize Poem
Ode to Jean Harlow
As falls the fragment of some bright star
Into the night, where all was dark before,
A brilliant flash attracting fans afar,
Seen but a short time, to be seen no more.
So, on the screen, this lovely lady bold
Outlined a course before she fell.
Turning a silver star to one of gold,
A star to be remembered long and well.
What matters that her bright career was
brief
And vanished swiftly in eternal night?
In such a fall there is no cause for grief,
For stars like these leave paths of brilliant
light.
She spread the glory of her short-lived
fame
And added lustre to a much loved name.
— Opal Wadman, Dublin, Ind.
$2.00 Prize Letter
Youth Speaks
Why not have more movies with youth-
ful appeal in them ? It seems that the stars
between the ages of fifteen and twenty-
five are doomed to destruction. _ Every
picture is made either for juveniles or
adults. We of the younger generation
want to see pictures that depict our own
everyday experiences. We aren't interested
in torrid love scenes ; we want good, clean,
wholesome, realistic pictures.
How about some high school and col-
lege pictures? And then, for pity's sakes,
don't star Fredric March or Clark Gable
as a couple of all American full-backs.
While I consider them superior stars, I
believe there is a limit to all good things.
Give the stars like Frankie Darro a chance.
For years I've waited for his stardom,
and I know he's just as good as the other
box office attractions. He looks, acts, talks
like and is the ideal American youth. Let's
have more of his pictures. Give the
younger generation a chance. Up with
Darro and Youth !
— Lavergne Gebhardt, Chicago, 111.
$2.00 Prize Letter
Middle Age Jitters
Ever since those two pixilated sisters
made their hilarious hit in "Mr. Deeds,"
the movies have been pushing middle age
around, and I protest. I haven't seen a
picture in a long time now that didn't
cause some individual of middle age, either
a man or woman, to appear as a complete
nitwit. When not cast as simpletons or
morons they're rnalicious and meddlesome.
In real life if all people between forty-
five and sixty acted as they're made to on
the screen — well, just try and imagine the
world !
There is but one middle-aged person
left with a shred of dignity — the banker.
Is this significant? Somehow or other,
our movie bankers are still depicted as
people with sufficient brains and common
sense to guard our money.
Let me assure producers that for one
giddy matron like Billie Burke or Alice
Brady we've got ninety-nine mothers of
gracious manners, dignity, and charm. But
in films all mothers are dames with mus-
cle-bound brains and cigarette jitters. How
about that realism which Hollywood
boasts ?
— J. W. Bayne, Vancouver, Canada.
$1.00 Prize Letter
Hurrah For Ma O'Leary
To our city came the picture "In Old
Chicago," and, so help me, you couldn't
see the name of Alice Brady on the billing
with a pair of high-powered binoculars.
Yet Miss Brady dominated the entire pro-
duction and was the one player over which
everyone enthused. Without her the pic-
ture would have been just another insipid
historical romance, pepped up at the finish
by a snappy fire sequence.
Another fan resents having to
look with binoculars for the
name of a picture's real star.
With Miss Brady, however, it became a
splendidly human story, infused with the
heroic personality of a wife and mother of
the fine pioneer type that made America
what it is today. Her glowing ideals made
Molly O'Leary a sturdy heroine who
couldn't be corrupted by easy money and
smooth politics, and whose courage and
spirit survived a holocaust. If Miss Brady
isn't the Star of "In Old Chicago," I'm
a cross-eyed pelican.
— Winnifred Davies, "Vancouver, Can.
$1.00 Prize Letter
An Explanation's Due
Napoleon's hair did a flip-flop in "Con-
quest!'' Came the last scene. Napoleon's
16
MODERN SCREEN
Write us your frank opinions about anything
concerning the movies. You may win a cash prize!
hair, one of his most distinguishing fea-
tures, was combed forward in a point.
All through the picture it had been thus.
The scene shifted for an instant to the
Countess, then back to Napoleon. His
hair ! An instant before, it was short and
lay toward the front. Now it had grown
an inch or more and was combed back 1
The scene shifted again and Napoleon
arose and turned, and lo! his hair was
back to its original length and pointing
forward again.
I gritted my teeth. Darn the producer,
anyway. Why did he want to spoil my
picture like that? I sat there foaming
around the gills. Instead of feeling the
sad farewell of those two great lovers, I
was gnashing my teeth in anger. How
could Napoleon be so romantic while his
hair was doing flip-flops?
Then I began to doubt. Had I really
seen Napoleon's hair cut capers, or did
I just think I had? I determined to stay
and see "Conquest" over again. I did.
Then, as the last scenes began, I sat wait-
ing breathlessly, tensely, and hopefully. But
it was no use. Napoleon's hair again grew
and swapped directions. My fond hopes
were dashed to the ground and my evening
was definitely ruined. Oh, Napoleon, Na-
poleon, why did you do it?
— S. J. Underwood, Detroit, Mich.
$1.00 Prize Letter
Bigger Roles For Nolan
May I say just a word for a grand
actor whose name is Lloyd Nolan? Real-
izmg that every picture must have a good
supporting cast in order to be a good pic-
ture, I still wonder why producers pay
extraordinary sums of money to bring
fine actors from leading roles on Broad-
way to second leads and mediocre parts
in Hollywood.
In 1932 or 1933 Lloyd Nolan was play-
mg the lead in "One Sunday Afternoon"
on Broadway, and playing it very well too,
according to the reviews. Now, in Holly-
wood, he has been relegated to playing
secondary parts; the villain and bad man
or once in a while a detective. While I
will gladly admit that each part he has
played on the screen has been played so
well that you feel after seeing it that no
one else could possibly have taken that role,
I am afraid that continued casting in such
parts will send him out of pictures.
He is young and good looking, and if
he could play leading roles on Broadway,
why not in Hollywood? He has a sense of
humor and definite dramatic ability and
I, for one, would like to see him in bigger
and better parts.
—Jean E. Kreps, Evansville, Ind.
$1.00 Prize Letter
Praises For Bette
The plaudits that have rained down on
Bette Davis for her brilliant acting in "It's
Love I'm After," and "Jezebel" have been
well deserved.
Bette Davis is Hollywood's most out-
standing younger actress. She has not only
{Continued on page 97)
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prizes of $1 each. Address:
Between You 'n' Me, 149 Madi-
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if-
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ANDREA LEEDS
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Today our glamor girl would rather
ride a hoss than be a hostess.
Carole and Clark Gable used to
brighten the night spots, but no morel
Wtud's (become <^ ihe f
WHERE, OH where, has the Carole of yesterday gone?
Lombard, the actress, is more predominant on the screen
than ever before, but the Carole of the press gatherings,
the portrait galleries, the Venice Pier, the Carole who was
Hollywood's favorite Party Girl — what has happened to
her? Days past you never had to look twice to tind her.
In headlines, at preview microphones, in most anyone's
front parlor. She was always there, and conspicuously.
But now Carole is the needle in the Hollywood haystack,
and press, public and photographers all find her hard to
track down. What's happened to that good scout who was
always available for a laugh, a picture, a gag or a cock-
tail? That's what everyone is asking now. And not only
us get-arounds in Hollywood, but fans write and want
to know, too. "What about Carole ? Why no interviews ?
Has she gone high hat? Where is she? What is she
doing?"
Well, here it is finally, not the awful truth, but the very
acceptable truth which explains briefly, but conclusively,
all those harassing questions. Carole, as you shall soon
see, is, in many ways, still the old Carole, only, whereas
she used to be "anybody's copy," the Carole of today is
strictly "not for publication." And that brings us to the
first "why" of the story.
For the answer to that most repeated question of why
this sudden desire for personal oblivion and Garboian
solitude we must first cherches I'homme, because there is
usually a man behind most female plots, though the re-
verse has been more often publicized. And in this case we
don't have to look very far, for he is usually right there
by her side, a certain Mr. Gable. Gable is responsible for
at least eighty per cent of her withdrawals from fanfare,
and his responsibility may even be divided into two parts :
26
forty per cent direct influence, forty indirect. Let's take
the indirect first, because at the moment it seems to be
the most prevailing. When you ask Carole why she has
suddenly adopted this words-off and camera-away policy
as far as Clark is concerned, she just closes her lips tight,
and for the moment you think she isn't going to answer
you at all. Then the old Carole smile shimmers through
and she says, not harshly, but gently, "Well, considering
everything, wouldn't you?"
And because we, eventually, saw what she meant, and
saw that she was right, we redirect the question to you.
In other words, we'll try to squeeze you into her shoes
(size four and a half A) and then you'll see it, too. So
now, let's suppose.
You are a famous movie star. You meet and fall in
love with another movie star. You begin going places
together. The world takes you up, plasters you all over
its pages. Glamorous couple, so delightfully suited to
each other. Real love at last. And the inevitable specula-
tion— how soon will you say "I do?" In the meantime
the world forgets that there is still such a little thing as
the movie man's wife (oh, isn't he divorced yet?) to be
reckoned with.
You haven't forgotten though. There is talk about a
property settlement — that seems to be holding up the
parade to the altar, by detour of the divorce courts, but
how can that drag out so long? You know that the other
woman is a fine woman, beloved by all who know her,
but you also know that love turns funny tricks sometimes.
If she loves him enough there may be jealousy, for
jealousy is the first flower of heartbreak, and jealousy
often produces a little bud of its own. a not so fragrant
one, a bud with thorns — or as {Continued on page ^6)
h
She used to be the life
of the party, but now
she's the needle in the
Once upon a time
Cccrole Lombard took
great pride in being
dubbed Moviedom's
most dazzling
damsel.
Hollywood haystack
'Ty" wishes he were at least
triplets to get around ererTvdiere
I ASKED Tyrone, "Are you going to get married?"
"No," said Tyrone, "why should I ?"
This revelation, this good news of 1938, burst upon a
waiting world just the other day, while Tyrone and I were
lunching together on the studio lot. I arrived first, and
waited for him, as what member of my sex wouldn't?
Tyrone, commonly and affectionately called "Ty," dashed
in breathlessly, peeling off a dinner jacket, and shrugging"
into a sports coat as he advanced. "Lightning change
act?" I queried. "I wish I were three people !" he laughed.
I seconded the motion. One of Tyrone is, obviously, not
enoiigh. Ask Mr. Zanuck. Ask his fans. Ask the girls.
If only his family name had been Dionne now.
Still breathless, he declared .that he didn't feel like
eating, then proceeded to order a man-sized beef stew, and
a beaker of buttermilk. Ty had been to the dentist's that
morning, had just come off the set of "Alexander's Rag-
time Band," and was on his way to tlie desert for a three
weeks' vacation before starting in "Suez." No wonder he
felt it would come in handy to be like the amazing little
28
m
amoeba, capable of endless dividings and subdividings.
It was then that I asked him, "Are you going to get
married?" And it was then that Tyrone came back at
me with, "Why should I?" He added, "Can you think
of ten good reasons why I should ?"
I told him that, without thinking, I could give him ten
excellent reasons why he should not, why it seemed
absurd for him even to consider it. At his age, with tdl
that he is doing, and still has to do, with the world an open
treasure chest, his for the reach of a finger, why should
he marry? Of course, if he fell ' hopelessly in love, really
hopelessly, so that love and a marriage license were one
and indivisible, why, then ...
Tyrone laughed. I needn't go on, he said. He'd thought
it all out for himself. For one thing, he doesn't believe
that any normal, up and doing young man, in these days
of getting around a lot, and meeting all kinds of people,
falls in love only once, or even only twice. He knows
better. He illustrated by showing me an amusing cartoon
recently published in one of the sophisticated "slick"
Tyrone Power, who has fame
and fortune, puts this per-
sonal question up to you
Tyrone Power and Janet Gaync
were as inseparable as ham and
eggs. What happened?
magazines. The gist of it was that a Freshman says,
"Mary is the only girl, the most wonderful in the world ;"
a Sophomore says, "Mary is the most wonderful girl in
the .world;" a Junior says, "Mary is a wonderful girl"
and a Senior says, "The girl's name was Mary !"
"You're apt to fall in love a good many more times,
aren't you?" I asked. "Both in and out?"
"Of course," smiled Tyrone.
So now you know.
I asked Tyrone the pertinent (and impertinent) ques-
tion, "Are you going to get married ?" because he is twenty-
three, because he is a treat to the eyes, and because he is
one of the pathetically few young eligibles left in man-
starved Hollywood. I asked him because he "went with"
Sonja Henie, and "goes with" Janet Gaynor, and incor-
rigibly match-making Hollywood has rumored and ru-
mored and rumored that, first with Sonja, and then with
Janet, Tyrone would soon be "twoing" it. Hollywood
is probably the only place in the world where a boy and
a girl cannot go out together, have fun together, even
be romantic together without every one shouting the
Mendelssohn wedding march.
The real facts of the matter are that Sonja and Tyrone
were mutually attracted, of course. Why not? They had
a lot of fun together, a lot in common, but they were never
matrimonially inclined, either one of them. And when
they realized that their fans were believing ail of the
publicity, were taking their "romance" much more seri-
ously than they themselves were taking it, they decided
to stop seeing each other, and put an end to rumors which
were not fair to either their fans or to themselves.
Janet and Tyrone are good friends, too. Naturally
there is an attraction between them. There usually is an
attraction between any young man and young woman
who are together a lot, but not an attraction which is likely
to lead to the altar. Certainly not now. Not yet. Nor
ever, I'd prophesy. Tyrone looks and acts quite heart-
whole, quite fancy free. I think that all of the rumors
have been magnifications, intensifications of the same
old story which we inevitably (Continued on page 98)
29
Yes, Merle Oberon frankly admits the altar is her goal
DO YOU want to get married?" I asked Merle Oberon.
I was never any good at beating around the bush.
"Well, I'd like to be married, but I'm in no hurry to
get married," she answered.
There's a difference. Between the passive, ladylike verb
"to be" and the active, aggressive verb "to get" lies the
story of wisdom which the lovely Britisher has gleaned in
recent years from recent romances — ^her own and others'.
She regards the married state as the goal of every sane
and normal woman. But, like the man who preferred the
old-fashioned buggy to the aeroplane, she is in no rush.
She's biding her time. We think her last romance, her
gossiped-about romance with David Niven was marking
time. Pleasantly, but not seriously. There is no romance
at present. There are beaux, but no lover. In her middle
twenties, she has passed the stage when girls fall in love
with love. She is waiting to fall in love with a man.
When she first went out to Hollywood a few years ago
— young, beautiful, luscious, with the romantic back-
ground of a youth which had taken her around the world
— all the men who threw themselves at her feet kind of
swept her off her feet, but only temporarily. It was won-
derful to have one's phone ringing constantly, to have
roses and orchids continually arriving. To be sure, being
beautiful. Merle had always received plenty of male atten-
tion, but here was Big Time attention, from gents with
famous names. But now — she wants something else.
She definitely does not want a marriage that is merely
a stopover between Yuma and Reno. She doesn't hold
with the Hollywood theory on marriage, "If at first you
don't succeed, try, try again." We had the feeling, while
talking with her, that she regards her career as a very
nice job, but only a job. She would want to keep her job
after marriage — she said so — but she would not wish to
becorne so bound around with it that, shortly after her
wedding date, you'd be reading in the papers : "Marriage
Conflicts with Career, says Merle Oberon." She says she
doesn't see why there should be such a conflict, if both
parties use their common sense. Adjustments will have
to be made, yes ; intelligent planning will be necessary to
smooth out inevitable difficulties which must come up
when the little woman works and, like as not, drags down
a salary twice as big as hubby's.
IT'S ALL very well, of course, to say T'll do this, and I'll
not do that,' " she told me. "The fact remains that we
don't know what we'll do under circumstances we haven't
yet experienced. I only know what I think I'll do, and
what I shall try to do. When I get married, I want to
stay in pictures. But I don't want to make more than
two pictures a year. You've got to be good to do tliat,
and I hope to be that good. I want them to be good
pictures, and while I'm working in them I shall work just
as hard as I possibly can. I love working in pictures.
Every day I regard myself as a very lucky girl for landing
in a medium which rewards a reasonable outlay of hard
work with fame and glory — and such attractive cheques.
All this is very pleasant, and I shan't want to give it up.
"We don't exactly choose the men with whom we'll
fall in love, to be certain, but I doubt if I could fall for
the old-fashioned sort who pounds the table and states
that no wife of his shall be a breadwinner — or even a
mink-coat winner. I'm sure I don't see why my future
husband shouldn't be proud of me for my little spot of
glory in the sun, delight in my, triumphs, be pleased
as punch that other people admire me. Well,
at any rate, I hope it will be like that."
"What do you want from marriage-
man?" I asked.
"A lot — from both," she answered.
Well, then, of course, that led to the old, old
question of whether a wife is right in de-
manding absolute, unswerving fidelity from
her husband. How did she feel about
that — would she feel that everything
was over if her husband was tem-
porarily and, let us sav, casually,
(Continued on page 76)
•and your
32
hi
EXCEPT FOR the faith and fore-
sight of one Louise Treadwell Tracy,
Spencer Tracy would not be a movie
star today.
Yet today, or at least not so many
todays ago, Spencer has been awarded
one of the greatest tributes the people
of the screen world have to give. And
never was an award made more fit-
tingly, or with a more poignant story
behind it. Spencer was ill in the hos-
pital, unable to attend the famous
yearly banquet at the Biltmore Bowl,
and so it happened that it was Mrs.
Tracy who reached with trembling
hands to receive the gold statuette
presented by The Academy of Mo-
tion Picture Arts and Sciences for the
best actor performance of 1937.
Not until the actual moment of the
presentation did anyone know who
had won the award. Still Mrs. Tracy,
with the innate sense of premonition
If it weren't for the
Spencer and Louise
Tracy, to whom he
gives his affection and
all the credit for his
success.
that has guided Spencer all through
his career, must have felt something.
She is not a woman- to go to banquets
just for the fun of it, especially not
when her husband is ill in the hospital
and she must leave her two children,
Johnny and Susy, at home alone. But
on that evening she did go, and in a
very strange and dramatic way.
Unaccustomed to the Hollywood
way of party-going, always arriving
late, she was the first guest there.
There she stood, alone in that vast
ballroom where thirteen hundred peo-
ple were presently to gather, no one
to greet her, no friends with whom to
chat. But she was not embarrassed
or upset. She was buoyed by the love
and confidence she has borne for
fourteen years.
In that overwhelming emptiness,
she moved simply about the tables,
found her place and sat down. There
she was sitting, a silent, thoughtful
figure, when the first photographer
found her. He grabbed a picture, one
of the most significant pictures that
has ever been tak^n. Empty rows of
chairs stretching endlessly on either
side of her, Mrs. Tracy sat alone,
hands quietly folded, a soft smile on
her lips. So they found her, the wife
of Spencer Tracy, quietly waiting for
the event of events, the event which
would symbolize success in their
chosen lives.
Eventually she was called down-
stairs where a pre-oflficial ceremony of
the presentation would be held for the
benefit of the newsreel and radio, and
there she received the news. It was
typical of her that she did not stand
around to be congratulated and
fawned over, but that her first
thought was for a telephone, and
Spencer. He answered from his bed-
side and she told him, "Darling, you
won it!" That was all she said, but
his answer was more emotional. To
say that sobs of joy came chokingly
from his lips may not sound quite in
the Tracy character — the hard-boiled
Portuguese fisherman of "Captains
Courageous," on which he won the
award — but he did cry, and those sobs
were very expressive of his feelings
at that moment.
Ill and harassed, just over an op-
eration, sobs of gratitude and relief
came all too quickly, and it was some
little while before Mrs. Tracy could
help him compose himself. Calm,
courage and steadiness — these have
been her gifts to him fqr many years,
and she gave freely of them again in
that moment. "One thing I'm glad
of, Louise," he said finally, "I'm glad
I'm not there, because it's right you
should receive the award, and not me.
It was all your doing anyway."
Mrs. Tracy's speech later, at the
banquet, has since become the most
Susy snaps a can-
did picture of her
famous daddy.
talked of speech in Hollywood, not
because of any aptness or cuteness,
but because of its overwhelming sim-
plicity. Reluctantly she stepped into
the spotlight, with genuine humility
she faced the microphone. "I thank
you," she said, "for Spencer, Johnny,
Susy and myself." It was a brief
message, a simple one. But it put a
lump in thirteen hundred throats.
Louise Tracy has always had a lot
of empty chairs to the right and the
left of her in her life, and always she
has sat in the midst of them, confident
and sure, not of herself, but of her
husband and his right to become a
great actor. Those empty chairs were
theatre seats, when Louise sat in the
midst of them during rehearsals,
watching her husband struggle with
his career on the stage before her.
It was a struggle, not only from
the bread and butter point of view,
but because Spencer has always been
beset with melancholy and morose-
ness. One minute he can be gay and
full of delightful madnesses, as they'll
tell you around the sets today; the
next you'll see him sad and long-
faced, some evil banshee working its
dark magic in his brain. It's all part
of his Irish temperament perhaps, and
another part of it, too, is his nervous-
ness and restlessness.
To be a man with moods — that has
always been the bad luck in his life.
But he has had good luck, too, in
having a wife who knows how to get
him over those moods, and that good
luck has made up for all the rest. To-
day she is not the movie wife who
dogs her husband's steps on the set.
She has never been on a Tracy set,
but she is there in spirit just as she
was there actually in the old days,
"out front" where he could call to
her when he (Continued on page 88)
grace and grit of his wife, Spencer Tracy might be driving a bus today
33
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35
John BcuTyiiiore combines the
nuinnm:s of Hamlet, the madness
of Mercntio, and the nnpredict
able qnalities of a baddie
^^tially reformed
John often goes i
home from the
studio with his
grease paint on,"
and experts aver
that he wears the
same grease
paint back in the
morning.
\
-I
FOR A LONG time
now, pens have been
dipped in heart's blood for
writing about John Barrymore.
Strings on tear ducts have been
tugged and tugged, and the story has
* reached a new sentimental high, all about
a man's reform, and the miracle that love
has worked in his life. We have all been led
to believe that the man is no longer what he was.
Gone his showmanship, his Rabelaisian humor,
his abounding extravagances (not only of yachts
and cars, but of pranks and moods), and forever
relegated to the past his brilliant nonsensities. A new
picture is painted: a Barrymore walking in sobriety,
cloaked drearily in dignity. But all this is absurd. Very
definite and delightful remnants of the man who has
fascinated the public for years still remain, and don't
let any one tell you otherwise.
True, John Barrymore's marriage is a success. True
also, he no longer misbehaves in the old bottle way.
But that he is a bore, in the way that most reformed
men are bores, all peaches and cream, that is impossible
to John Barrymore. He's still the old John, in the
most delightful ways. There is still his great fund
of stories, his capacity for outlandishness, his vacilla-
tions from moments of rage to those of the most
devastating sweetness, and there is still his keen
showmanship. He is still standing in the center of
the stage, with the gleaming spotlight turned full
on him, and he is still claiming "To be or not to
be." In other words, John is still carrying on in
the old Barrymore tradition. And those who like
their heroes to carry on all shout a Halleluiah!
THERE WAS, for example, that incident recently
when John, Elaine, and Elaine's mother were all
having dinner downtown in a Los Angeles res-
taurant. An hour hence they were to appear on
a national radio program, and there wasn't much
time to dawdle over cofifee. Then, as they were
leaving the restaurant, hurrying to their car,
John suddenly stood still, stared dramatically at
a little hunchback who was selling newspapers
on the corner, then quickly bounded toward him.
That memory of his, which is a card index file
for everything that happened in the before-
yesterday past, but which is strangely incom-
petent when yesterday's events need to be re-
called, had suddenly offered up a buried treasure.
In one great leap John was at the little man's side,
clutching him around the shoulders, calling him
loudly by name, delving at once into "the old
days" when these two had worked in the same
picture together.
To say that it was a meeting of old friends
doesn't do the scene justice. It was a show, the
noisiest, most ecstatic meeting that had ever been
witnessed there on one of the town's busiest four
corners. Forgotten were Elaine and Mrs. Jacobs,
who looked at their watches anxiously, and whose
hurry-persuasions were completely drowned out
by the noisy excitement. Ignored were the dozens
of people who began to gather around. A police-
man edged in, and soon John ^yas telling him about it
too. They hadn't seen each other for years, and here
was "one of the greatest little fellows who had ever
lived," and the precious minutes flew. Finally Elaine
tugged at the policeman's coat, and the policeman
tugged at John's, "The lady says you will have to
hurry."
Finally they dragged him oflF, the policeman clear-
ing the way, leaving the hunchback a little flabber-
gasted by it all. At the radio station John told the
doorman about it. In front of the microphone, just
before he went on, he told the announcer about it.
Three days later he was still talking about "the
greatest little fellow on earth." It was only a meet-
ing between two old friends, but it had all the quali-
ties of a great play scene, and there had been crowds,
too, to give it applause. His abundance of emotional
energy, his extravagant use of voice, words and ges-
tures had turned it into something which the strollers
of downtown Los Angeles on that particular evening
will never forget. No, reformed or not reformed,
John does not go around meeting old friends, and
saying, "How are you, old man?" and letting it go
at that.
John still has his moments of ill humor, but, as in
the old days, they have their (Continued on page (K))
Everywhere that John Barrymore goes, Elaine
is sure to be, with Ma Jacobs bringing up the
not-too-distant rear.
I SAT in Billie Burke's drawing room while her sec-
retary, a plain, middle-aged woman with a sweet smile,
bustled around the room. Every few minutes the phone
would ring, and the maid would rush in and say to the
secretary, "Miss D — , the phone is ringing."
She couldn't hear it. "Poor Miss D— " Billie
sighed later, "she was with Mr. Ziegfeld for twenty
years, and so many people kept shouting at her that
she has grown hard of hearing."
Even before Billie Burke came in, I marveled at
how, in the few days she had been in this hotel, her
personality seemed to have pervaded the room. It was
easily the most feminine room I have ever seen, with
its flowered chintz draperies, white lamps with dainty
flower designs, and vases filled with jonquils, tulips
and lilacs, spilling their fragrance everywhere. There
are nearly always three or four vases of flowers in
every star's room, but I counted ten in Billie Burke's.
Her secretary stooped to pick up a petal that had
fallen to the floor. "Every time I do this," she said,
"I remember 'Craig's Wife,' tlie woman who would
have no flowers around because the petals fell of¥ and
marred the perfection of her rooms. In that picture
Miss Burke portrayed Mrs. Craig's neighbor, who had
a beautiful flower garden, and was always trying to
give some of her flowers away to the neighbors. That's
just the sort of thing Miss Burke would do, too."
Suddenly the door flew open, and a slim young per-
son cascaded into the room. There was such youth and
impetuosity in her movements that I thought, "This
must be Billie Burke's daughter, Patricia." I caught
a glimpse of red-gold hair and a tiny jacketed figure. .
Then she fairly flew to a closet. A moment later she
sank down on the rose-colored couch.
"I'm so sorry to be late," she said breathlessly. "I
had no idea what time it was."
This was Billie Burke!
Billie Burke is one of the most feminine stars I have
ever met. Even in the tailored suit she wore, she
looked as frilly and frivolous as a lace handkerchief.
She wore a strand of pearls around her neck, and a
miniature of Patricia as a baby, which seemed to say,
"See, I am not ashamed of being sentimental."
"You manage to look about twenty years old," I
sighed. "How do you do it ?"
"Oh, but I don't," she said, and smiled that shy
smile that made her the idol of matinee girls twenty-
five years ago.
"To keep young," Billie continued, "live normally
and don't mind getting old. Never think about the
fact that some day you are going to look old — and it
will never happen to you. Keep your body limber, and
don't let yourself get old under the knees. Walk every
day, keep your tummy in, your posture right, your
muscles taut. I always exercise in the morning for
twenty minutes, and take cold showers and salt rubs.
Billie Burke and Brian Aheme kept the audience in
constant gaiety- in "Merrily We Live."
"Patricia is her own mistress," says |l
Billie of her talented daughter. |l
Sometimes women let themselves get fat,
and when you're fat, you're poisoned, and
must try twice as hard to reduce, for the
poison in your body makes you lazy."
There is something amazing in the
way Billie Burke's career has gone on and
on. A generation ago, when candies and
hats and coiffures were being named after
her, the word "BiUieburkishness" was
coined to express her peculiar charm.
Twenty years ago an interviewer wrote,
" 'BiUieburkishness' signifies demure sauci-
ness, immature coquetry, irresistible grace,
fatal wounds inflicted by angel eyes."
WHEN THIS sheltered girl fell in love
with Florenz Ziegfeld, known for his gay
recklessness, everyone felt sorry for Billie
Burke. Fearing that marriage would ruin
her career, the theatrical producer for
whom she worked did everjdhing he could
to end the romance, even to the point of
confiscating Flo's letters to , Billie. But
Ziegfeld simply hired Victor Kiraly, the
manager of Billie's show, to manage a
show for him, and persuaded Victor to
smuggle his letters to Billie. Then he and
Billie would meet secretly. When inter-
viewers questioned her, she would say, "I
have no intention of marrying Mr. Zieg-
feld or anyone else, although Mr. Ziegfeld
is a very charming man." One hectic
April day they were married.
All Broadway predicted that the mar-
riage would never last. If Anna Held,
famed on two continents for her provoca-
tive manner, her large limpid eyes, and her
glorious figure, had not been able to hold
Florenz Ziegfeld, what chance did this
naive girl have?
"Never pursue a man," Billie says. "Al-
ways let him pursue you. And never let
him be too sure of you. For eighteen
years I held the most difficult man in the
world." It was not a boast. It was a
simple statement of fact.
"The open hand is the only way to hold
a man. I think the most stultifying thing
in the world is (Continued on page 83)
"A womcm is smart
to play dumb," Bil-
lie Burke confides.
4
Underneath those frills and
foibles, there beats a big,
bright brain
r
Girls seldom get the idea that Charlie's crushes
EDGAR BERGEN may have less on top of his head than
CharHe McCarthy, but he has more inside it. And, de-
spite the fact that recession has hit his hairHne, you can
still , call Edgar handsome. Handsomer than Charlie, cer-
tainly. Yet, to hear Edgar tell it, he hasn't come half as
close to marriage as Charlie has.
"He's the one who mows 'em down," Edgar says,
wryly. "I get the left-over glances. I'm sort of tolerated,
as a friend of Charlie's."
Practically from the beginning, it has been that way.
Time after time, Charlie has kept girls from taking Edgar
seriously — when Charlie has given him a chance to meet
them. Year after year, Charlie has reduced Edgar's pos-
sible love-life to splinters.
There was that pretty history teacher in high school,
for example. Edgar was inclined to be enamored of her.
But he never would have passed history, never would
have graduated, never would have become what he is
today, if she hadn't met Charlie. Edgar himself hadn't
known Charlie very long at that time. He didn't sense
Charlie's potentialities. He didn't realize that women
could fall in love with dummies. Even wooden dummies.
He got around to that discovery later. At the moment,
he was absorbed only with the discovery that he could
"throw" his voice.
"I didn't know I could until I had unconsciously done
it. I didn't get the idea fi'om an ad, or a book, or even
an urge. I stumbled into it. You know the funny yells
that kids have, cat-calling to each other. Well, one day I
was calling to one of my classmates in the school cor-
ridor. He looked for me in the opposite direction. I
thought it was because of the echoes in the hall. But the
same thing happened other places. After a while, I began
to think that maybe I had something.
"One night, at home, I was studying. To keep myself
amused, I was imitating an old man in the distance, call-
ing. My mother was in the next room. Finally, she
couldn't stand it any longer. She went to the door, to
see where the old man might be, and what ailed him.
"That decided me. I invested in the 'Wizards' Manual
— or How to Be a Magician, a Hypnotist and a Ventrilo-
quist.' All for twenty-five cents. I was about thirteen or
might really be Bergen's!
fourteen. Anyway, too young to wonder how a girl could
ever sit on my lap, with a dummy there. If I'd thought
of that angle, I suppose I'd have planned to take care of
it with hypnotism."
Also, if he hadn't acquired Charlie, he might never
have had to endure romantic frustration. Any other
dummy might have been persuaded to hide in a suitcase
after working hours, and give Edgar a chance to put
across his own personality. But not Charlie.
"My first dummy was an ordinary papier-mache one.
He was like a million other dummies, and that gave him
a negative personality, to begin with. On top of that, he
was blackface — and I wasn't so good at colored dialect.
Between his blank face and my hammy dialect, people
watched me, instead of him. They never seemed to get
the idea that he was supposed to be talking.
"So I went down to an old woodcarver and told him I
wanted a dummy that was 'different.' I wanted one with
character in his face. One that looked wide-awake. One
that looked as if he could talk by himself.
"I took along some sketches (Continued on page 81)
ti) Ramies J?eut
ute Marjorie
Weaver feels her
net profit will be
high when she
goes fishing for
long hours under
the summer sun.
When aplayin' she
does go, Arleen
Whelan, right,
wears wool, for
she realizes it is
cooler than you'd
think.
Believe it or not, there are ways and means of
getting the best of a high temperature
THERE ARE those who love hot
weather and those who hate hot
weather, but the fact remains that,
with the exception of a fortunate
few who own sHces of mountain
tops, we all have to cope with hot
weather problems in one way or
another. The girls who simply adore
the heat, my dear, are apt to go to
extremes in taking advantage of
summer's health-giving and beauty-
giving properties ; and those who
hate heat with an unholy hate are
apt to sit down limply and give up all
effort to feel good and look nice until
comes the first of October. There is
a happy medium, and there are ways
and means of getting the best of a
high temperature. Give me your at-
tention and I'll tell you a few things.
The psychological effect of look-
ing nice is wunnerful. "Oh, how
cool you look!" Do folks say that
to you? Cool, and fresh, and fra-
grant— that's summer sex appeal.
Well, begin from the skin out. Take
luke-cold baths and showers. Put a
pine essence, which has some zing to
it, into your tub. Blot yourself dry,
don't rub. My pet lazy stunt is to let
myself evaporate — ^takes a little
time, but mmm, it does feel good.
Then pat on cologne or toilet water
instead of using a bath powder,
which is inclined to roll up into-
heating and chafing particles when
it's been on a little while. Use a
deodorant which tends to stop per-
spiration.
Wear a shirt or chemise under
your girdle. And don't leave off that
girdle if you need one, and practi-
cally everybody does, even the thin
gals. The idea of the shirt is — well,
haven't you all gone thru the busi-
ness of tugging on a girdle after a
shower, and getting hot and cross
all over again? Remember that cot-
ton is a durn sight cooler than silk,
and that old things are cooler than
new things. I buy gent's cheap
woven undershirts to wear under
everything that isn't transparent.
You can find cotton pants and
slips if you shop around for them.
Pack away your lace-trimmed lin-
gerie for winter. Sitting on a lace-
trimmed pantie and getting stencilled
does not make for that fresh and
cool appearance.
I don't need to remind you of the
value of washable things over cloth-
ing that must be dry cleaned. But
there, too, I should give a thought to
the gal who must work in an office
except for that cherished two weeks'
vacation. She is faced with choosing
between a laundry bill that staggers,
or standing over the ironing board.
In which case, may I remind her of
the blessing of seersucker? And
howz about a thin dark or printed
suit, with which thin, inexpensive
blouses can be worn? Alpaca is nice
and cool, too. Save your white linen
or sharkskin suit for gala occasions
and make up your mind that you
can squeeze only two wearings out
of it at the outside, and then it's off
to the laundry. White suits look
cool, but they ain't. And may I re-
mind you that wool is a heap
cooler than it's given credit for be-
, ing? This is a tip passed along by
Arleen Whelan who practically lives
all summer in short-sleeved wool
tops, plus shorts, slacks or skirts, as
occasions demand.
Do "you dote upon going without
stockings whenever you can? Okay,
but kindly wear something between
your feet and your shoes. Thin
wool, again, is best. Do you want to
know {Continued on page /U)
Interest but not aggressiveness,
wins men like Gene Raymond,
left Appearance and disposition
count a lot with Dick Powell.
Five Hollywood heroes
list the wiles that
snare the anfair sex
WHAT MAKES a man fall in love? What particular
appeal makes a woman attractive to him? What qualities
capture his heart?
Many a girl with charm, looks, and intelligence never
succeeds in winning a Prince Charming, and would give
a pretty penny to know why she fails.
We thought it would be interesting to have the men
themselves shed some light on the subject, so we hunted
down five of Hollywood's most attractive males, and put
the problem to them. What advice could they give a girl
who would find love, and, through it, happmess? Also
what might she unconsciously do that wotdd chill love?
The first object of our research was the idol-of-the-
hour, Robert Taylor. He thinks that the answer to a
girl's chance at romance lies in her general genius for
making herself attractive.
"I don't mean by that physical attractiveness. I am
taking it for granted that she has made herself as lovely
as possible, and that she dresses smartly," he explained
as he relaxed his stalwart six feet in an easy chair.
"What I mean is that she should cultivate the qualities
which make people vote her a 'grand person.' Geniality,
tact, and poise are far more powerful drawing cards than
a pretty face.
"I believe that nothing is so effective as the vivid and
radiant quality which is reflected through a good dis-
position. Men don't enjoy the company of a girl who
is pessimistic, or c)ntucal, or who complains.
"She must acquire confidence, if she doesn't already
possess it. Without the feeling that she's equal to any
situation, and has something to offer, the girl probably
wouldn't be able to do anything about it if romance did
come her way. Her frame of mind has a great deal to
do with how she impresses others.
"She should be friendly. Let her go out of her way]
to be nice to people, to meet them more than 'half way.'i
She should give of her time and energy to help them,]
and to understand them.
"The greatest single reason why many girls are lonely
and don't win their Prince Charming, is because they
don't try to imderstand other human beings. Their point
of view is out of joint with their fellows', and they are
unwilling to admit it or believe it.
"When a girl takes an interest in people, and her
sympathies expand, she plants the seed of popularity. She
finds that people begin to be interested in her.
"In the story books, the girl who found her Prince
Charming was always feminine. The same thing is quite
true in real life. This doesn't mean that a girl should be
a clinging vine. But it is fatal for her to toss away her
greatest charm.
"I think, too, that very often a girl would be lots more
attractive to men if she didn't try so hard to be. If she
could just forget whether her nose was shiny, and not
bring out the compact and lipstick every five minutes, it
would make a man feel more at ease.
"If I ever marry, I'll take my wife on a camping trip
with me for about two weeks out of every year," said
Bob, shrewdly. "She won't have any occasion for make-
up and will have to be as nature made her. It will do
her no end of good."
WE NEXT asked the enormously attractive Dick
Powell for his opinions on the subject. He depreciated
his abilities as a love-expert, but after a little urging, he
broke down and gave us some valuable pointers.
"If a girl isn't getting the right sort of breaks from
"Cupid, I don't think it's anything to develop an inferiority
complex about. No, finding your true love is largely a
matter of luck. If you don't believe me, just take a look
at all the i^ain girls and homely men who have done all
right for themselves," beamed Dick.
"But such a girl certainly ought to walk firmly up to a
mirror, take a good long look at herself in a bright
light and say, 'What's wrong with me?' Perhaps shell
find some little matter of make-up, hair comb, or dress
that needs changing. More probably, she'll notice some
little detail she's been missing, such as a discontented droop
to her mouth, or an unfriendly expression about the eyes,
that's been making all the difference in the world."
Then Dick disclosed what he believed to be the most
potent secret of all in this extremely interesting business
of romance: Don't be obvious.
"A girl who makes her intent to charm too evident, sets
the tide of popularity flowing away from instead of
toward her. Give the poor male his rightful chance to
exert his own powers of fascination. The one thing he'll
run from quicker than anything else is even the faintest
suggestion of a trap to catch him off guard. He must be
free from that suspicion.
"To try to attack man's psychological fortress with the
weapons of 'See-how-charming-I-am' is fatal from the
first onslaught.
"Be charming, but let him find out for himself just
how charming you are," smiled Dick. "He'll do it, never
fear ! But he'll do it a whole lot faster and more surely if
you leave your signboards at home."
Many a man, according to James Stewart, falls in love
with a woman just because of her smile.
"A woman's smile can change her entire face," ex-
plained this likable young man, in that slow drawl of
his. "So much so, that I really believe it is in a smile that
a woman is or is not charming. Women who haven't
beauty, have supplied themselves with magnetism, and
have added to the attractiveness of their personality,
merely by knowing how and when to smile.
"The faculty of knowing what to say and when to say
it is second only to the ability to say nothing at the right
time. This is very important," stressed young Stewart.
"Ask any man, and, if he's (Continued on page 95 )
"Yes, I've cer-
tainly been af-
fected by suc-
cess," confides
Ray Milland.
Bay's conceited, extraYagant, importmit— and admits it— bat he's
way np there just the same, and here are the real reasons
RAY MILLAND strode into the studio cafe.
He was late, an unpardonable sin with him. "I can't
stand anyone who's late," he declared emphatically, and
waved impatiently for a waitress. "There's no excuse for
it !" Definite he was, just like that. He does nothing by
halves.
There didn't seem to be a waitress — ^things like this
happen even to movie stars ! So he groaned and, momen-
tarily stalled, presented his own alibi. "We had a party
last night and one of our guests went
home leaving his car behind him. He
came for it this noon and apologized
for an hour. I couldn't stop him!"
Apologies, you gather, must be brief to
win Ray. He can get a point imme-
diately, and prolonging the obvious is
the fastest way to bore him.
A fleeting year ago this dark and handsome fellow who
looks like Prince Charming and is, literally, more fasci-
nating than that legendary gent, was merely a promising
leading man. Now, however, his rating is entirely differ-
ent. His charm packed so undeniable a punch that, at
last, he has been rewarded. Having proved he has what
it takes, he is busily heroing in million-dollar supers, his
studio's best efforts. He is, finally, an important
one.
So now, you fans are clamoring for an up-to-the-minute
memo on Milland. What's happened to him, as a person,
while he's been making all this progress professionally?
Has becoming a big shot changed him ? Is he happier be-
decked with his Hollywood halo? Is his personal life the
life of Riley, now that he's "arrived?" In short, what is
success doing to him ?
"When I woke up this morning," said Ray, despairing
of ever catching a waitress' eye, "I had an impulse to
pack a suitcase and head straight for Switzerland. It's
too late for the skiing, but at least I could see St. Moritz,
and feel its spell again. This afternoon's airliner east
would be the thing. I like to get places in a hurry. I'd
take the Normandie. for the Atlantic."
"A nice steak, Mr. Milland?" chir-
ruped the blonde delaying the lunch.
"I could pack in five minutes!" re-
torted Ray. "All right, steak — ^before I
starve to death."
He is, he asserted, a very impatient
fellow. "You can have excitement if
you go after it," Ray informed me. You can mix Avith
glamorous people if you want to. I speak from experience.
I hate to be stuck with mediocrity. It isn't necessary.
One of the advantages of success is that you can be more
honest as to how you feel. You can speak your mind more
freely. I'll admit that certain behavior antagonizes me. I
am bored to the extreme by people who try for an effect.
I can sense sham instantly. In fact, I can see through
people, even tell their next move. That's why I have only
three close friends. I'm not being inconsistent, either.
Being cosmopolitan isn't a sham when in your heart you]
want to escape from the ordinary."
A film idol rarely admits to {Continued on page 90)
Glenda may not practice what she |
preaches, hut she has the idea! \
GET IT while you can, and all you can !" Glenda Farrell [
speaking, and as the screen's ace portrayer of gold- \
diggers, she should know the answers! "Never try to i
save a man's money for him, or you'll get it in the neck. !,
I know, for that's what happens to me. The best plan '
is to spend till it hurts. But — never let it hurt you ! The i
more you make a man spend, the more he will earn for
you to spend." ■
The ironic part of it is that vivacious Glenda, on the '
screen, can take a guy for his last match box. But in l
real life, she can't get today's cocktail — yep, it may be ii
cocktails, but they're on Miss F! However, yesterday's fl
beau is today's friend with Glenda. So — ' i
"I'm Irish and romantic, so I just can't seem to use f
my head. That's why I end up saving some man's money !
and a blonde cutie spends it for him. / don't go to the
Troc or the races! Oh no, I even wait for movies to '
come to neighborhood houses where it's a quarter instead
of fifty cents. But, along comes a brainless wonder and \
she's at the races, the Troc and all the swank previews. j
"I invariably pick the wrong man. Do you know, for "i
two long years I went with one lad and saved his pennies. I
He was struggling to get ahead and I was in love. My |
first thought wasn't where we would go. Never ! How I
could we spend an inexpensive evening?. We dined in, 1
listened to the radio and on rare occasions (after pay 1
day) went to- the neighborhood movie. I was looking out \
for his future! |
"And what happened to yours truly? Got it right in !
the neck ! A contract player from another lot, more lush \
than flush, saw this swell accumulating bankroll and • |
decided to adopt it. You can bet there are no quiet \-,
evenings by the fire for him now. Oh no, it's the races |'|
and a new club each night. She has to be seen ! Not me ! |
That air around Santa Anita way might give me a cold ! I
"I stood this just as long as I could and pushed off j
for New York. It worked. Yes, it's my turn now ! Why, |
I've broken five dates in a row with him, and I'm thor- |
oughly enjoying it, too. A lot of people would think I
I'm an awful lot in love to take the trouble to break i
those dates — and maybe an awful lot of people are |
right. ||
THE SAME thing, figuratively, goes for the studio. f
I work like a Trojan, think I'm doing a good job and i|
when I expect a raise, what do I get? 'Everyone's letting I
players go, so take this or else.' Well, I took the 'or else'
and it turned out to be pretty darn good. It was. in the
nature of a mild triumph when I went to another studio,
getting as much for three days work as I had gotten
for three months. The picture wasn't very good, but
they knew I was in demand. Then along came an offer
for as much money for two pictures as my home studio .
offered me for four. Vyell, they finally came to giving I
me as much for three as I was offered for the two. You j
know where my old studio's got me? I've been with j
them so long I wouldn't be happy anywhere else. So j
I'm going back home and do Torchy Blanes aerain and
I'll love it."
Glenda is residing in that California town boasting as
its mayor none other than Hugh Herbert. And, Miss F.
is the Mayor's favorite citizen. Maybe it's only an idea,
but we'll bet leading citizens of Studio City will be gath-
ering out Farrell way once her chintzes are hung and '
that old Sheffield feels at home. {Continued on page 75)
THE CURRENT cinema clearly indicates the trend for
feminine furbelows, and both male and female juries
unanimously convict them of charm, allure and flattery.
Don't go overboard with ruffles, however, for a truly
smart get-up is never fussy. Rustle delicately, and ruffle
with discretion. Be as girlish as you like, but don't let
your clothes give the impression that you've dressed in
a high wind.
Virginia Bruce, in "The First Hundred Years" has a
series of business frocks which illustrate the point neatly
— with one sartorial exception to prove the rule.
There are delicate touches of frou-frou, but "touches,"
remember. One slim black coat dress has wide revers of
stiffened white pique. A soft chiffon ruffle outlines the
neckline close to the throat, relieving what might other-
wise have been too-tailored severity. It blends the
clinging vine with efficiency, something all business girls
could use to advantage. A soft bosomed black frock,
fitted through waist and hips, has a huge rhinestone clip
as sole decoration. This is worn with a tiny cone hat,
erupting at the top in small curled ostrich tips. Another
cone crowned hat has a heart shaped brim, and accom-
panies a waist-length silver fox cape.
In one of designer Dolly Tree's costumes for Virginia
Bruce her imagination goes a bit out of bounds. Her
travelling outfit is no help, either to Miss Brace's face or
figure. The jacket is too long for symmetry, and the suit's
lines are destroyed by too much swirl of material, and
burden of wide fluffy fur collar. This is a lesson to tuck
away for future reference. However slim you may be,
silhouette is sacrificed when a swing skirt is combined
with swing jacket or tunic. There are too many lines
I
In "Yo\a Men and a
Prayer" Lbretta Young,
left, wears a dramatic
evening gown of white
chantilly lace with se-
quins. Irene Dimne's
broad - shouldered
white bengaline coat
tops a pencil slim
black crepe skirt and
a jabot blouse of
rich silver lame.
The stars show you how to combine
glamor with smartness in new
costumes for morning, noon and night
going in too many directions. It's all right to maintain the
pencil line in both, but a wide skirt required a fitted jacket
— and vice versa. Miss Bruce is further handicapped in
this sequence, by a bonnet whose brim shoots out in front,
with a crown that projects rearward, in a flat line across
the top. A novelty, no doubt, but most unbecoming.
Miss Tree redeems herself, however, with two beauti-
fully simple evening gowns whose interest centers in
accessories. Quite similar, both have Grecian ancestry,
carried out in soft white material. In one, small rhine-
stone birds perch on the shoulder, where the wide folds
of the bodice are tightly shirred — an intriguing touch you
might remember as a builder-upper for any^ evening gown
of your own that has lost its appeal. Even the "five and
dimes" now abound with butterflys, bugs, and other in-
teresting clips which add a dash to your shoulder straps.
The second "formal" is in the same spirit, with yards
and yards of skirt clinging to the figure when not in
motion. Variation is in the bodice. One shoulder strap
lies flat, and the other is a twisted (Continued on page 79)
The elegant simplicity
of shimmering gold
lame fashions another
oi Loretta Young's
long-sleeved dinner
gowns in "Four Men
and a Prayer." Irene
Dunne's clothes in
"Joy of Living" prove
the bolero to be uni-
versally becoming
and always popular.
s
I
■ with the best of 'em^
DESPITE OPINION in some certain quarters,
Jane Withers is not a precocious little girl. She is
not, offscreen, the young Indian she portrays when
the cameras are grinding. To be sure, she is as bright
and noisy as Fourth of Jtily, but there the "brat" in
young lady Withers ends. No, Janey is not a problem
child. She is not, her mother tells you, a wonder child
either. She is just a nonnal, healthy youngster with
an abundance of talent and pep.
When it comes to mimicry, she has a parrot backed
off the boards. Her imitations are devastating. One
of them was so penetrating that it was deleted from
her personal appearance tour by request — the request
of an executive in her organization. No tribute for
accuracy could be higher, you're bound to agree.
Jane is an indefatigable worker. She will give
full measure on whatever the script calls for — and
the script usually has a way of calling for taking a
header down a flight of stairs or a sock on the jaw
or an equally strenuous bit of business which re-
quires liniment and bandages once the scene is shot
to satisfaction. Since calamities invariably punctuate
the Withers' pictures, the young star has come to be
known as Calamity Jane. She doesn't mind it at all.
In fact, the appellation sort of gives her an added
importance and lustre.
Jane will never have to learn how to win friends
etc., etc. She knows instinc- (Continued on page 97)
1 Be
1^ - L. I
f "^f i
,; ch,j(
r o.
!• for
.eattt to-"
by COOW^
■ ce
5 0,5
\iacj
' off wjti
■-Id
own I
case
I
0*'
ate
to
^» scene bo**
laclde'B ChatUe
''TYve Kid.
CXp
"'^hU.'
TWiinnn. rotim.rnllnir
"l.iioiy l„„ •
1.^
'""^'^ ^^^ ^
-^7 AV
da:
' * old £S^«
day t''^^^
„ Coo;
^^^^^^^^^^^^^
-oled by
K Shrun
" have tt^^'" as «Va'^l„(A have to oeg
■ roncentta^^- ^de, t-"-" . labor. -
:easing iort««^^^ years ot aW
^ aitet as m^^^ have to beg^
^^^"'^ ^SW^^«^^^"^•entY-tbree. ^^^^ pa\,
bave Wt\e o ^^enty a ^^^^I J^sts at
ovet -g^asn t ^bat tny ^est ^ut
ter^d-^-T tV^at sounds^; aga ^
at^d ai^ ^^ev?
a "topper ,
. /"v-Ve" ^''1
Ilil'S
I mote * * .„ the cottrt*
, t 1 v/o\i\(i
• V, mv dad, that
going to " ^earn t^e >^ other ^ ^ ^^s-
^^-"^ ' .ars bas been
actors v/bo ^ears
heartened. ^ ^^ed «^/,^ur 1^-
But aU thax the ^^^^^ Art
When tte T^'S" s«aok i" „„„ev •.
l>« °} KL 'rha''=, , W*''?luts today.
U>s Angd«^,^ lots cost a 8,^100 4oUa«
oS town- in neatly » pica! proot
they n ofier .*'!«?J.d^P>^"=lari n-'g^
"or the ptopertV ^^„er " ^4.
turn It oyc^ pay 'ot ' • sold. tasiness
yourla"*- , have since hec" ^^^^ed a ^ ^
^ Those lots na p^d pi earhet » ,
h ycf «M,000. "^orth oS o'^f'^^nt-
pot«<nt oi at
u« ateets
Here b^ gjjpott.
The*
TO 4SK f
[S4ys M(
I fSp«i»I to TheN
g -Los Angeles, j.
[The mother of JaJ
^~as "filled with iV
f^r the fact "
to'
in 3»n 'y sevvices. ^^^^^'^ a
Pc«n8 »°'ttd the others. J/^ied for tour P^.^
Metro on*»„„tract wh.c" ^ «as to B Vj,^,
honn^ » W'orty ^Jj^tor mc J «ith
tr*ro^v:nasalary(Co ^
/no
ribu
AS
ind Man8in^,3Mmlttf^^^ T%.^VV.,se&^mnsn^s^^^^^ P;)— Jackie Coogan e::-
and state the nature of the "i
when he was '
tnf/ of Carsi^^Mmt^^^ HOLLY^^ooD, April lO (TTTT" r ^
1?^; .'^««««0/te^|iP*"^T U%liP'^'^^'^^'™'^g»ess today to aLnt^^^^^^
;^^m£?er "fkftr* V and state the nature of S^e ''oa,it,n t T^^^"" ^
I ie Cool: • 21- a V/OV^*** . "^^d ^-"^"' '"""ely. he conUnued. ^
|i.er.T '°^"^ preven t ^ ' Kxi«l5>^°"l<in't remember ever having been I tn^dT""- "^^P" ""'^ "
^ rt^etvt ^^^^ '^"ir^''''' hadn't been " "
• tUettV*^^ — exactly a perfect boy. bu* -
I wed
« CO,
iigtJbattht
forced
hurrie.
stopped ft
"le court to
proper
I . '"e suit.
' ^ .'"dicaied
'^'"S out the
; «tcnt Of t,
J-ernana
" contends
■ i^e and
tha
hoi
'"s the I
continue
I'e b?rt *.:?""'oui
^ ^'^owT, Derb
^^^^■W -.-v V'.'
afeO. .eVP, ^itvft °\<»\.c ^^K(
. 4 Vix Bernstein.
Bet- *;,-^Xl?-.Ws»o*e.^-. a
that, ^""tttutaess ""^Jftnother as )a» «as He t«*'* ;,;ve enough* /and to do.,''''?
^^-^ *°taV o s'"^? *?=1to though he if. ^."S hitodto ia«/;tlixes th^J^
S«4eS; - - ^^^^^^ evet - r^^o- " ^ , s«ea. that U M
-.«cordr%r<^ a^^s«^^^ b^^C;tVv^j^.^.-<;, ^rs.
. 'dr opped a ,
tune, °;^^ox todal
one cw"--
to him on his
twetity-ftj^ ^ore than v , Lother
n ^^^^^^^ ^s:^
.bout him than aW ^^^^rt to
Sl be S'«" * and *«> l^riM! over
ttart 's only *f "fXis really sufferrr*
Iras arry *^t:u:;sttd to Jg^^-ut,
detests arg«»e , .U- WOSO
He ^^^.S and saved trom
xnarriea, ^
he wont
.ave an ar^errr f^J-^ SJ--^^
Et^^-4^ek?^??^tl?tre
he tod.f^'S t^e talk of the
enough ^« „ful because J acK
"t?stll *e Xi*|S'/MV|,rwa/rcan
v,pd on a ^ „pts the
U TacVc nab p ^haps T ^ \ot ot n , on a i^-j- the (.'-^
detests argumen |CttSOllS W» " I
. -a'e nf ftulCUll*''*** Keep It all. In reli
UMclmllU S UlW*" ! n»>ney, she said she h,'
WBJWa^P'^ VvCV \^^^ ^t^^ i " 1'' * S^*"! education !l
^^Ta , ' Mother WnnU ^ffi^ . 0 \ . ^ ^ ;o.:^^r;^r:^:
/-/re QnH U/^j /, ^C5y \f\^^ V "5..?f*> o ,h,
elect- ' lor a ^^,eat
Wafer- p
h""!- husl
■11. fioni dLsposinfr o(,
I r:„„ commen
. .aid: "Ca
■n down inexcus
ng- safety to thr
^Jy'^''v\l ^ "'inors. B<'
^•VJ'^\0*„<i«>^ "^"''t be appoln
N° law. ■•
' -rfi'^ \W-.<..<' ...le ■■'■ply to hrr . .
^^^^^^^^^^^^^^^
child stcxr as ^^^^ f read tba^
r^azedly, \ almost ^id'
Oi ^^'^iZA^g^^'^ Se ey-^- .e and
lav/suit or ^^^tt,an, den a
"^^"^^^iuian Coogan ^ 000. be eat
^i^^- ^ i oi ^ ' . tromanotl^e^
accounung o as H^^d l^om
tbout ^/ Arthur Betnste ^^^^^
^^^^f'^^ndSerl^visband'^^t n «^emoty.
Production^', 1923, .^^ boy o
on a ^T,tS!^^P^^^l^oogan, St-^^^ ,ald
5l te'W ^aU sdl P^-x bad to
rV.r^ to b^Stlf O ^ s Ol
-ountlng ^^Hbe a-^o-
^^^^^Ttl -1^^ ""ttbe most.g^J^^J^v/ood.
friend l^f, or*. ugly w"-'"^
,o sensauonaby ,^.J^M
V'S ">l.
1 Vad to '^S^ ^ "me Vtie w»
"Wen- *4 tdl V»« itonclad " j„„
to"*- ,„ S » '\ t mv W "* Stst**'
•'^-V'' sis "Other and 1^4°, »
S'the l*er • ^^e corrrfo.t.
ourselves _ _
ana j^-
asse«^-, rLer about ]ack^es ^^^^^^
J^^^^' Tht S bow it catne success. ^^J^.ted bim
f'^^^-. ^ \aSie's £ picture ^b^cb sta ^^^^^^^
Aiter .J^^Tbe Kid. tbe pi ^orW,
tugg^^g ^lod business tnau, t ^ ^ i
Se"^^'"; JhS lovable /p^Suctions came t,^^^^^
i^teeaien'- ,j,,t story » ^f^^e the the
* Tch Sde, "l^"fri I ^as chosen^or^
oi I-^-cSerlord «^ JrSeU had had
n2.dtVc». S^rtoM je thatj
a ..jt seems, h« you play
^a-{,rSycV'^"'" , Xrrthecast,!
<)-^«eTe*A-HVe!Kose..taryT-V
remember, were r -
Victor
Tbe director was to
Ue«ts -tr^os^nr.^;- ^^^^^^
°^ up to tbat , ^^^^^y /^^''^aced tbe
Truly, it ^S leatl^- ^^^WrTkillin'
{or bim. a^^^ay anytbmg abo ^
^ "'"tbe production.' ,t tbat t.^e ^.^ ^.^d
J^'^h 'f brigbt marbles w This ttiotber s
handiul oi ^'^g^Hng a lo«g tugged at 1^^^
^Iven bim. ^ cbanged, l^e &
^^ini-ssa^-^-^"''
Mrs Coogan satd, m now- ^oots
Busy, If.^^- ^otber l^as^\^ tbose torturms
You'll bave to ft«^^^^,„,,,d on pagc
.-ine ^ ^^V. "y- ^ Vera
remember, were ^^^^^^ ^ ^lff.,|^vi.r " • oj
-^.rS^^STl^^^ Bernstein Says
« ^-''aK '^ money iXOV jj:.^'''^
"'^^^^^^^ ^i.^;??^*' Won't Get \ ^ ^
^Citi^e.«^^:5c^jf^^^^^ S.n.fa.lu.; '.hol\ IS
* Coo
7i „ « I son. ^^^f^^^^^^^^^S^i{i.<fi-^%T^&^
■ i Finance C9»- O^^^f « tnO
% f^^^^ Vihn Tot
iff,-""'
seen i
'Ucc.
^ J's ,
.not
^^^^ seeing J^^
Jb"*'^''^ -ig \s said
to Jii
h' Kii
hie Tells 01
%>ogan's
ming
I
1>. April %2 i/p)
!>m-a-wekk fiimP
i.v of ignoring a
jother-in-7sw thgf
bins 1^ tTUsi
^^^"^ ^Deanna
iiy- , i^':;;vit en-
accounting is!
Coogan Ca
Move to S
;y;Uywooa now. after
re of
'rs. Oreen says that
inmc'iu bonds and la
annuities v.h:
in her lit'o.
h w
Mitz;
in a
su
steer
■ ^ -he able
tnaice sure
her
•r are now ... „
nable Chateau Ely:
hotel in Hollywoo
ey live well but n
leans.
's father is \vith
fiee of a theatric
brother,
sen
sends
cen;- MS
tincnaces.
' as-eiK
■ f sinip;,. ,
I
1. Q. When did you first go before the camera? 2. Q- Didn't you ever have yoior pictiire taken alone?
A. In Salt Lake City, when I was foxir weeks old. A. I was lour when I posed for my first solo starring
Mother held me and I was quite unhappy about picture. Everyone says I don't look a day over three
the whole thing. in this one.
ILLUSTRATED INTERVIEW
in which the lovely Loretta Young delves into the old family alhum
3. Q' Were you considered a "party girl" in your
youth? A. Indeed! I'm the one with the smile at the
left, and the young ladies on either side of me are my
cousins. It was their joint birthday.
4. Q" What about your picture debut? A. I
worked in pictures for two days when I was five.
At fourteen, I got my first big part — the lead with
Lon Chaney in "Laugh, Clown, Laugh."
7, Q. Is there a man in your life? A. Haven't a
single one at the moment. I've been out a few times
recently with David Niven, and I've gone to a party
or two with Cesar Romero.
8. Q* What are you doing now? A. I'm working
in "Suez" with Tyrone Power. I'm playing the
Empress Eugenie, and I'm also discovering she
did something besides wear those funny little hats.
\i.et
die
tVve
ol
^\ka* \ist *'*f,„«i»
bet A^-t'^^e
U^*e rosed. flv^v^.
T:\veY
,„„;AeA ^^^^ \i\
»He o** tte ****v^fte4 Wito- ^* "see
sbeat!-
spa
1 VJ
^^^\oUtv4 ^/'^dsa^-^W^at
d V^^^n a Vv*^^'
die
^ i^e"? . cot»P^ „A Vive
Cottef
L\ed
dVe<
is
tot ■*^^^'a ia^o
0»e
^^^^ ed, ^±v. L \n t\^^'
CO'
be pa'
dat«
bed
, \ctt
DO
ttet
„ tet»9^®* «oO»^'* „ o»e
Ta\\^tber >1 'Cot-^ "'"^^Ta^^^^ ^^d sa^;
vie
s'
p\avs a^
tVve
»* V.
6be »°
\-weti
dM
W\d Vvet »^
^ I' set, ' . fvcut »
v.» G^a"^^ « a
d a E.
t?<n>-
At the director's order, the boys all leaped
into action, and fists flew all over the set.
When the scene ended, Morris pulled him-
self out of the center of the melee, looked
around and said, "Did I hit anybody?"
Stewart would be glad to get the recipe,
for all the methods he's tried so far have
failed. He's six feet two and a half inches
tall, and he would like to add about thirty
pounds to his present weight of one hundred
and fifty-five.
swank apartment at the Montecito — and a
valet ! Young Mr. R., according to reports,
out-Powells William when he turns his
roadster over to the uniformed doorman
and makes his entrance.
Bob Tayloi probably gets more giits from
fans tfaon any star in the business. He'd
have a house full if he kept them alL but
most of them are donated to local charities.
For instance, in the past six months he has
received sixteen sweaters. A woman in
Albany, N. Y., has knitted nine for him in
the past two years. Men's sportswear
manufacturers send him hundreds of items,
hoping he'll wear them in his pictures. And
since he bought a ranch, he's received a
shipment of alfalfa seed from Nebraska. He
skipped charity on this gift, and planted the
seed.
Marion Davies, they say, hasn't been on
speaking terms with Norma Shearer since
Marion's recent birthday party for William
Randolph Hearst. Guests were asked to
come as American colonials, and Norma
added a touch of surprise to the occasion
when she came in her "Marie Antoinette"
costume, accompanied by sixteen ladies-in-
waiting. Since "Marie Antoinette" was the
picture Marion wanted very much to make,
you can imagine the chilly reception Miss
Shearer received.
Flash! Bob Taylor and Barbara Stan-
wyck, in their new pictures, *Wear bathing
suits for the first time in their screen careers.
In "Three Comrades" Mr. T. swims intention-
ally for the first time (remember his duddng
in "A Yank at Oxford?") and Miss Stanwyck
appears in a bathing suit in "Always
Goodbye," marking her screen debut as a
bathing beauty. There's no particular sig-
nificance in this news — ^we just wanted you
to know.
Any of you girls know a sure way to
put on a little weight? If you do, Jimmy
Most of the locals who attend previews
go hoping they're going to see a swell pic-
ture— and sometimes they do. But when the
picture's a flop they sit silently through it
and suffer along until the lights go up. loan
Crawford, on the other hand, takes no
chances. She brings her knitting. If the
picture is good she watches it. If it's bad
she knits. Producers are beginning to ' re-
gard her as a modern day Madame De
Farge, her busy needles clicking out doom
for their epics.
Add a new name to your list of Holly-
wood men-about-town. The latest entry is
Mickey Rooney, who has just acquired a
Hollywood incidentals: When Margaret
Sullavan and Leland Hayward dine out, he
reads a newspaper throughout the entire
meal, and she doesn't mind. . . . Dorothy
Comingore, the eighteen-year-old actress dis-
covered by Charlie Chaplin, is now under
contract to one of the studios. . . . Tom
Beck owns one hundred and twelve trees.
He keeps them all in nurseries, because he
hasn't any land to plant them on.
Imagine the lovely Loretta Young hang-
ing a haymaker on anyone? Neither could
Loretta— but that's what the script called
for. So Fidel La Barba, former flyweight
champ, was called in to give her the low-
down on knockouts. "Sure, I see," said
Frank Morgan, above, looks more
distinguished every day. Mr.
and Mrs. Jack Oakie do all right
by themselves, to<^.
Just a cool million in talent, per-
sonality and umph — Myma Loy,
Bob Taylor and Clark Gable—
or do you know theih?
If you're married to a lovely like
Virginia Bruce, right, you can't
be camera shy, so J. Walter
Ruben takes it all in stride.
That luscious Hedy La Marr gets
around, and no wonder. Reggie
Gardiner and Dick Barthelmess
ore the lucky lads.
Loretta, after Fidel's first demonstration.
"Not so complicated, is it?" She took a
big swing at her instructor, missed by some
ten inches and ended up with a thud on
the floor. "Not so complicated, maybe, but
rough," she admitted ruefully.
In a court action over an automobile ac-
cident in London last year. Merle Oberon
was giyen a $25,000. judgment. The court
found Merle's own chauffeur responsible for
the accident, and ordered him to pay the
$25,000. Miss Oberon laughed it off, for both
she and the chauffeur knew he didn't haye
the money. After her return to this country,
though, she received a cable from her Lon-
don solicitors. It seems that in London all
chauffeurs must be bonded before they can
obtain drivers' licenses, and the insurance
company handling the bond will pay Merle
the $25,000.
We've been trying for an hour to make
an item out of the fact that Pat O'Brien
raises dahlias, and we're ready to give up.
We even asked Pat why he raises dahlias
and his reply covers the subject very
simply. He said, "Because I like to raise
dahlias."
Neatest trick of the month was staged by
a theatre owner in San Diego. Ckilifomio.
During the run of "Kentucky Moonshine,"
anyone who came to ' the theatre barefoot
got in free!
Newest twosome around town is Janet
Gaynor and Lew Ayres. Had their first
date together the other evening — dined and
went roller skating. The Gaynor-Power
romance is definitely on the wane, and
Tyrone is concentrating his attentions on a
bit player at his own studio.
Jackie Moran's beginning to have girl
trouble. All of which is very funny to
everyone but Jackie. The girb from Holly-
wood High, near where Jackie lives, have
taken to standing around his house and
waiting for him to show up on his way to
the studio, to his lessons or to the comer for
a coke. Now he's taken to using the back
alley and complains that being the dream
of a sub-deb is certainly confining.
We were talking to Ruby Keeler on the
set of "Mother Carey's Chickens" and
asked how she felt about being back at
work. "Just scared to death," said Ruby.
This role, incidentally, is her first picture
in over fourteen months, her first costume
picture and the first role in which she
doesn't dance a step.
Luise Rainer might have been put down
as one of the most opinionated stars in town
when she first came to Hollywood. She
would not dress, even under the studio's di-
rect threats, in omything but slacks. But now
there's a sudden change of heart. You
couldn't hire her at any sum to put on slacks
— Mama and Papa Rainer are in town.
On the "Too Hot to Handle" set the
other day, Clark Gable had to take a nose-
dive into a mud puddle. There were
elaborate rehearsals so the "take" would
be good the first time he really dived in.
Everything was in readiness. Clark took
a deep breath and dived in head first, and
Walter Pidgeon got so excited that he blew
up in his lines. They had to postpone the
next take until the following day, in order
to rehabilitate the Gable wardrobe.
Donnie Donahue out on the "Mother
Carey's Chickens" set is proving too precoci-
ous for everyone's comfort. At first afraid
the three-year-old Donnie wouldn't be able
to grasp the meaning of his own role, the
cast now finds that he's getting everyone
else's down pat. besides. The other day.
Ralph Morgan slipped up in a line, but
covered it so quickly that it would have
been a take except for Donnie's piping up:
"Spoilt again. Mr. Morgan."
65
Eddie (Little CaesGor;
son stole forty >winks
here, but the "little woman"
stayed as fresh as a daisy.
oretta Young's swell
sister, Sally Blane, steps
out with her handsome,
hubby, Norman Foster.
The newest wrinkle of the movie stars
seems to be taking a Hollywood wardrobe
to Paris. Dannielle Darrieux, when she
left for France, had seven trunks full of
clothes — and all from local shops, except
for those copied from her clothes in "The
Rage of Paris" and designed by Vera West.
And Marlene Dietrich, believe it or not,
isn't planning to purchase a stitch in Paris
on this trip. She loaded up with gowns
here and bought some thirty hats just
before boarding the boat in New York.
On the "Letter of IntroducUon" set, we
watched actiesses acting as actresses. It
was a stage scene with Kathleen Howard,
Doris Lloyd and Andrea Leeds. Director
Stahl was buzzing around like a nervous
bumble-bee and giving everyone the jitters.
Both Miss Howard and Miss Lloyd blew up
once or twice, and only Andrea Leeds kept
her composure and her lines intact. They're
calling it the "Letter of Introduc-shhhh-un"
set around the studio, because everyone's
walking around on tiptoes.
The table was bending under birthday
cakes the other night at the Cafe LaMaze.
Tony Martin had taken Alice Faye there
to celebrate her birthday and there ran into
Janet Gaynor giving Tyrone Power a
tete-a-tete celebration in honor of his.
They joined parties and three-tiered cakes.
They're calling Bing Crosby the "rain-
maker" down at Rancho Santa Fe, Califor-
nia. For every time in the post several
years that Bing's staged a golf tournament
there, the skies have opened and the de-
luge has fallen.
Frank Morgan owes his reputation to
Clark Gable since a broadcast a few weeks
ago. Morgao had lapsed into a coma,
entirely missing his cue, when Clark gave
him such a violent nudge in the ribs that
66
he jumped some three feet, then caught
himself up and went into the dialogue,
looking pretty sheepish.
In case you missed it on the financial
page, lane Withers' weekly allowance has
hit a new high — five bucks a week. "I'm
going to try to spend it wisely," Jane told
her mother, "though some of my extrava-
gances have me frankly worried." Mrs.
Withers' worst fears were confirmed a few
days later when the trainer of "Darwin," the
chimpanzee being used on "The Three
Myrna Loy's the perfect off-
screen wife, too, according
to Arthur Hornblow, Jr.
Blind Mice" set. called her up. He won-
dered if she approved of her daughter's deal
on Darwin. Jane was piuchasing him on
the installment plan, one dollar down and
fifty cents every Monday.
Alan Dwan, on the "Suez" picture just'
celebrated his thirtieth year of directing —
and Loretta Young and Tyrone Power
presented him with a fancy plaque. Dwan
started out making pictures for the "Flying
A" company way back when. They made
three a week — with Wallace Reid the star
and an extremely slim and youthful Eugene
Pallette as the juvenile.
Studio call sheets, which onnounce the
daily working schedule of pictures, some-
times make good items. For instance, one
studio sheet recently read, "Weather permit-
ting, if sun shining, no clouds, and not too
windy — on location. Leave studio at six
a.m. In event of bad weather, stage eight —
dust storm."
Item on the universal appeal of Bobby
Breen: Discussing young master Breen's
radio popularity, Eddie Cantor said, "The
Irish think he's Irish, the Jews think he's
Jewish, and when he sings 'La Donna
Mobile' the Italians go crazy!"
They hung a "For Men Only" sign on
stage twelve at one of the studios, so we
went in to investigate. The set was full of
guys with cauliflower ears, and in the fore-
ground a husky gent was playing a tune on
a punching bag. A closer look revealed that
the husky gent was Bob Taylor, and the
punching bag routine was part of his new
picture, "Give and Take," in which he plays
a prizeflghler. Taylor, who's been taking
boxing lessons for this role, was actually
doing a first-class iob on the punching bag.
He's glad they're casting him in strictly he-
man roles, but he denies they're grooming
him for o new Tarzan series.
MODERN SCREEN
says Andrea Leeds -
still is, now that I'm in pictures. It's
so important for daintiness'^
A college moving picture won this dainty
star a contract with Samuel Goldwyn! She's
charming — here's one of her secrets . . .
"I Luxed all my own things at college —
'* even sweaters," she says. "It saved a lot
on upkeep. And when I visited my family
in Mexico, I'd take Lux along with me. It
saved my stockings and lingerie from ruin!"
Smart young girls keep personal things
dainty the way famous movie stars do —
with Lux. Lux removes every trace of per-
spiration odor, yet keeps colors and fabrics
new looking longer. Lux has no harmful
alkali — safe in water, safe in Lux!
Andrea feels ifs part of her job
ways to "look like a million dolla
"So I stick to Lux," she says.
"Ws II •mill I Oil ft
colors!
f
^■PP^^^ „. up' With the
■'f ^fill they 'f„,' ut down ^^^^^^^^^^^
for daintiness • • •
Leading Hollywood Studios
specify Lux in their wardrobe depart-
ments to keep costumes and all wash-
able properties fresh and sparkling. It
insures daintiness — saves dollars on up-
keep, their wardrobe directors tell you.
67
MODERN SCREEN
So THAT you wouldn't have to bend over
a hot stove this summer, skilled Franco-
American chefs spent many long hours cook-
ing to just the right delicate consistency de-
licious strands of Franco- American Spaghetti.
So that you wouldn't have to bother getting
together and cooking all the ingredients for a
delicious sauce, Franco-American chefs have
turned out a sauce for you which is simply
a marvel.
So why do hot summer hours of work when
this has already been done for you? Especially
when you can get this most delicious prepared
spaghetti for so little —it costs only ten cents for
a big 15%-ounce can — enough for 3 portions.
Husbands and children who have once
tasted Franco-American get pretty pernickety
when you try to feed them any other prepared
spaghetti. Franco -American is grand for chil-
dren's lunches — hot and nourishing and tempt-
ing— and on the table in a jiffy. It combines
wonderfully with left-overs, thanks to that
marvelous sauce. It's always a hit for Sunday
night supper. It's a life-saver when people drop
in unexpectedly and it's marvelous for outings
and picnics. Let Franco-American help keep
you cool and rested this summer! Better lay in
a few cans right now !
FraiicO'/lmerican
SPAGHETTI
Made by the Makers of Campbell's Soups
MAY I SEND YOU OUR FREE ^
RECIPE BOOK? '^=^
SEND THE COUPON,
PLEASE
Campbell Soup Company, Dept. 68
Camden, New Jersey. Please send me your free recipe
book: "30 Tempting Spaghetti Meals."
Name (print) -
Address
City
HEAD OF THE CLASS
-State-
No. 2637— Above, the "triplet set,"
first choice of smart school girls.
SMART for the classroom, indispensable
as your fountain pen, ase these two new
designs to send you off to school in style in
September and keep you at the head of your
class all year. Never done any knitting?
Then start on this three-piece suit, ele-
mentary as ABC ! Paris says raglan
sleeves, collarless, high necklines, fitted
waists. They're all here in the "triplet set."
There's good news for real knitting fans in
the knitted sweater, for it has the new four-
tone stripe, colorful and flattering, to blend
in with all your skirts. Make the suit in a
rich brown, evergreen, or deep plum, the
sweater in a combination of bright autumn
woodland shades. Send in today for your
free instructions.
No. 1323 — Colorful sweater in four-
tone stripe to go with your skirts.
ANN WILLS, Modern Screen.
149 Madison Avenue, New York, N. Y.
Kindly send, at no cost to me:
Knitting directions for No. 2637
Knitting directions for No. 1323
I enclose a stamped, self-addressed (large) en-
velope.
Name
Address
City State
Check one or both designs and please print
name and address plainly.
MODERN SCREEN
"I'd get snapshots of
every boy I really liked 1.
says DOROTHY DIX, famous adviser on life and marriage
Accept nothing but
the Film in the familiar
yellow box-Kodak Film-
which only Eastman makes
"T CAN'T see why girls don't use more
JL system in their search for the one-
and-only man. Every big business uses
system, and love-and-marriage is the
biggest, most important of all . . .
"When you meet a boy you like,
get some snapshots of him. Keep
these. Save the snapshots of all the boys
you like. Then, when a newcomer ap-
pears and tries to rush you off your feet,
look at the snapshots of the others . . .
"Nothing awakens memories like
a snapshot. As you see the faces of
good old Tom, good old Dick and good
old Harry, you may find that one of
them really means more to you than
your new friend. If so — you're saved
from making the wrong choice in the
most important decision of your life!"
* * *
Whether you're expert or inexperienced
— for day-in and day-out picture making
• — use Kodak Verichrome Film for surer
results. Double-coated by a special
process — it takes care of reasonable expo-
sure errors — increases your ability to get
clear, satisfying pictures. Nothing else is
"just as good." And certainly there is
nothing better. Play safe. Use it always
. . . Eastman Kodak Co mp any,
Rochester, N. Y.
69
MODERN SCREEN
WHEN YOUR FEET
Dr. Scholl's Gives You Quick, Safe Relief
Hardly a single part of your body escapes
the ill-eflFects of painful ieeU They make
you hurt all over. Relief can be yours at very
small cost — for there is a Dr. SchoU Remedy, Ap-
pliance or Arch Support for every foot trouble —
made under the personal supervision of Dr. Wm.
M. Scholl, the famous foot authority. Sold by Drug.
Shoe, Department and lOi Stores everywhere.
CORNS — SORE TOES
Dr. Scholl's Zino-pads instantly re-
lieve pain and remove corns.
Thin, soothing, healing. End
cause — shoe friction and pressure
— prevent corns, sore toes, blisters
and tender spots.
CALLOUSES
Dr. Scholl's Zino-pads, special size
for callouses, relieve pain quickly,
safely loosen and remove the
hard, dead skin. Stop pressure on
the sore spot ; soothe and heal.
BUNIONS
Dr. Scholl's Zino-pads, special size
for bunions, give instant relief to
tendet or enlarged joints ; remove
shoe pressure on the sore spot.
Thin, protective, healing.
SOFT CORNS
Dr. Scholl's Zino-pads, special size
for corns between toes, relieve
pain in one minute ; take pressure
off the sore spot; quickly, safely
remove soft corns.
ACHING, TIRED FEET
Dr. Scholl's Foot Balm is a sooth-
ing application for tired, aching
feet, muscular soreness, tenderness
and burning sensation caused by
exertion and fatigue. Analgesic
and counter-irritant.
EASES FEET I
Dr. Scholl's Kurotex, a velvety-soft,
_ cushioningp)aster;relieves corns,
callouses, bunions, tender spots;
prevents blisters. Flesh color.
Easily cut to any size or shape. '
TENDER FEET
Dr. Scholl's Foot Powder relieves
sore, tender, hot, tired, chafed or
perspiring feet. Soothing, healing,
comforting to skin irritations.
Eases new or tight shoes.
DrScholts
FOR ALL FOOT TROUBLES
REMEDIES-PADS-PLASTERS-ARCH SUPPORTS
C -1
I Mail Coupon in Envelope or Paste on Penny Postcard
'FREE Foot Book, also sample of Dr. Scholl's Zino-
{ padsforCotns. AddressDr. Scholl's, Inc. .Chicago. III.
Name .
\jidd_ress_
EVERYTHING'S UNDER THE SUN
{Continued from page 43)
something? Wool socks, worn consistently,
will help to banish corns, callouses and
other superficial foot ailments. Or you can
wear those separate foot things to be had
in every department store. If your feet
swell in hot weather, stay away from pumps
and high heels, and immerse the tootsies
every day in cold water, into which you
have thrown a handful of table salt. Use a
foot powder every day, and a foot balm or
ointment every once in a while.
Going from your feet to your heads in
my usual abrupt fashion, I trust you have
your summer permanents already. No?
Well, then, unless you're handy at fixing
your hair yourself, just grit your teeth and
devote an afternoon soon to getting the
best, the most expert, and the most becom-
ing permanent you can afford. A simple
one, please — like Anita Louise's soft wave.
Not too long, hanging around in the back
of your neck and driving you crazy. The
up-on-the-head arrangements look mighty
pretty and cool, and if your hair is "adapt-
able" and you are skillful at keeping it in
order, go ahead and have one of the simpler
up-swept coifTures. Otherwise, an easy
nape-of-the-neck curl. Sun in moderation
is a wonderful hair tonic, so shampoo your
locks yourself and dry them outdoors,
brushing while they dry. It would be nice
if you could keep your hair pretty dry
while swimming, but don't let it spoil your
fun. Rinse your hair, though, in clear water
after the swim, and once every couple of
weeks, do the necessary business with olive
oil or a good oily tonic. Not a very attrac-
tive idea, but it will pay dividends at the
end of the summer.
AND now, dears, your faces, and the cos-
■ metic problem. How can a gal add a
spot of glamor to her personality when
powder runs right of¥ as fast as it's put on ?
Well, now . . . have you -a nice bottle of
astringent in your ice box? That's a very
good idea. Pat it on, ice cold, with cotton,
and don't be stingy with it. Fan your face
for a few minutes afterwards. If your skin
is nice and clear, for daytime, you can go
powderless, wearing lipstick by all means,
and eye make-up if you need it.
A great aid to summer-time allure is a
good foundation cream. In a shade a little
darker than your skin. Get a good one —
there are several on the market. Last
summer I laid a buck and a half on the
line for a container two-by-four-by-one
inch, and it lasted me thru the season.
This little gift of the cosmetic industry
serves many purposes. It gives powder and
rouge a firm staying basis, for one thing.
You should use cream rouge with it. Used
alone, with no powder and bright lipstick
and the least touch of eye make-up. it gives
excellent protection from too much sun,
looks elegant and natural at the same time.
It gives a little shine to _ the face, very
fetching on certain occasions, and very
much in the Hollywood manner. The movie
stars go in a great deal for this type of
make-up. And worth noting : for those
summer snapshots of you and the boy friend
on the beach at Little Codfish Cake by the
Sea, your face will come out ever so much
prettier for a little shine.
Use these foundation creams sparingly,
and blend the cream down into your neck.
When applying the cream, have the hair
bound up in a towel or something, for
these creams do not enhance the beauty
of the hair. Let the cream "set" a few
minutes — it goes down into the skin and
does it good, too — and then blot very
lightly with tissue. If you're going to put
powder on over it, press the powder
gently onto your face after the cream
has set, and remove excess powder with
clean cotton or brush. The powder will
stay on very- well, in spite of the heat.
AN indispensable, as well as an inex-
• pensive, aid to summer comfort and
summer good looks is the compact fresh-
ener-upper, to be carried in the purse.
When you have taken a long motor ride to
the friend's place in the country and,
frankly, look like heck upon arrival, and
do not wish to be considered a very vain
and fussy person because you take hours
to "fix up" ; when you must work in a
city office and have a divil of a time keep-
ing your face on during the hot, perspiring
day ; when you go dancing on a summer
evening and do not wish to get all drippy
after one turn around the floor — on any
number of occasions, in fact, these clean,
refreshing little gadgets will do wonders
for you. You can't miss 'em, even if I can't
offer you their trade name. Cheap and
handy — on drugstore, five and dime, or de-
partment store counters.
Ah, me, I suppose I should mention that
problem that is always with us : namely, to
tan or not to tan. Also how much to tan.
Seems to me we should all have acquired
some sense about it by this time. And I
think most of us have. Well, then, the
sensible and chic thing to do nowadays is
to get a suntan only if it's extremely
becoming ; to get it slowly, by the two-
minute-a-day-on-up exposure method; not
to get as bronze as an Indian in any case,
but only a nice feminine, golden shade.
If your skin fries to a crisp in the sun,
if you freckle horribly along with the
tanning process, and if you are the type
who tans very, very quickly — if you are any
of these three types — stay out of the sun
when it is broiling hot. And wear sun-pro-
tection creams, big hats, goggles, and other
protective coverings when you must be in
the sun. Pink and white skins are again
fashionable. The "new" make-ups tend
toward shades of red which have a lot of
mauve and blue casts in them, and these
very chic and alluring shades in rouge and
lipstick look like the old Ned with very
tan skins.
Another point — a strong tanning is bad
for most skins. It has been for most skins
all these years that copper-colored pelts
have been fashionable. It makes the skin
leathery in texture and, come winter, it is
impossible to get rid of the spotty, dirty
look which an extreme coat of tan leaves
behind. Out in Hollywood, the stars are
taking sun baths very, very cautiously.
Why? Because Technicolor will have no
truck with a dark coat of tan. Bottles of
sunproof oil, cream and lotion adorn the
dressing tables of cinemaland, and the
cinema belles go down to the sea in big
hats and terry-cloth cover-uppers.
There's a minor summer phobia of the
younger fry I want to bring up. I've had
letters about it in the past, and I remember
when I was very young (gawsh, what a
memory!) how I used to lie awake nights
wondering what I could do to prevent the
boy friend from finding out that I had
freckles on my arms. Of course, you
thin-skinned lassies who freckle should
endeavor not to add to the permanent
freckles with temporary freckles. There
are those two kinds, you know. The per-
manent ones, acquired in childhood, likely,
stay on your skin in varying shades of
intensity all your life. With each sum-
mer's sun, you can get a crop of temporary
70
MODERN SCREEN
That battle-ax expression is more often caused by nervous tension
than by temper! There are unnecessary tension-makers in every busy
day that can steal your youth and charm! Learn to recognize them
— discover how to correct them. You can out-wit those beauty robbers
... if you'll be on your guard.'
By their frantic frowns — you can
spot women who are always late
. . . always hurrying! Avoid that
rushing habit if you value your
good looks!
A new wrinkle has been put in
many a pretty face by shoes that
pinch, a too-tight girdle, or shoul-
der-straps that bind! Comfort is
important to beauty!
That martyr look often comes
from a sanitary napkin that rubs
and chafes ! But — there's a downy-
soft napkin that doesn't chafe. It's
Modess . . . and it's made differ-
ently from ordinary napkins.
Worry furrows that come from
fear of an embarrassing accident
are unnecessary, too. Insist on
Modess . . . for Modess has a special
moisture-resistant backing that
will end that worry.
See the difference! Cut a Modess
pad in two and look at the filler!
It's fluffy and soft . . . different
from pads made of close - packed
layers. It's this fluffy filler that
makes Modess so comfortable.
Test It! Remove the moisture-re-
sistant backing inside a Modess
pad and drop water on it. See for
yourself that not a drop "strikes
through." Think what this special
kind of protection means to you!
Beauty secret worth trying! c^iii look .'luuiigcr and prcUicr (and
keep your looks longer) if you'll get rid of unnecessary tension, discom-
fort, and worry! Modess can help you do this on days when nerves are
particularly tense . . . and endurance lower. Get Modess today and ex-
perience the comfort and peace of mind this different kind of napkin
brings. Modess costs no more than other nationally knowu napkins.
IF YOU PREFER A SMALLER, SLIGHTLY NARROWER PAD, SAY "JUNIOR MODESS"
71
MODERN SCREEN
freckles, and if you are very susceptible to
this freckling business you should stock up
with a good freckle cream and further
hoodwink Old Sol with a good protection
cream. A few freckles, in my opinion, are
never unattractive. Men do not consider
them unattractive, either. Not that one
wants to be absolutely peppered with 'em.
And try to protect the back of your neck,
if you can. That's one place where the
large, splotchy freckles are apt to come.
AND now I must say a few words about
eating and exercising and dieting and
not dieting, dreary as those topics may
seem at this time of the year. Summer is
the season to be moderate. I'm sure I
don't need to tell you not to eat too much.
I may need to tell some of you not to eat
too little. You all need breakfast, lunch
and dinner, according to your diet routine
and your figufe problems. Beware that
oft repeated saying, "It's too hot to eat."
Don't go thru the dog days on sandwiches,
stingy salads and glasses of iced tea. You
may cut almost all sweets, starches and
fats out of your diet if you like, and if you
are overweight. But proteins you need,
for in proteins there is strength.
Proteins, dears, are contained in meat,
fish and eggs. In the summer time, there is
a tendency to cut down too far on meat.
Cut down on it some — yes — for it's a chore
to cook it and tcso much isn't necessary. But
you should have a liberal serving of lean
meat daily — or fish or chicken — and even
the fat girls should go in for an egg a
couple of times a week. I know I've said
before in these articles that, in extreme
cases of overweight, sometimes it's a good
idea to cut out meat from the diet entirely.
I'm not contradicting myself. Remember,
I said "extreme cases of overweight," and
even then, meat should be eliminated from
the diet only for a short while. Generally
speaking, fat or thin, we all need a daily
serving of some sort of meat.
For other diet advice, you know as well
as I do that leafy green vegetables, fresh
green salads, tomatoes, fresh fruit, tomato
juice, fruit juice and milk are the foods
to choose from for the bulk of your eating.
Beware of the snack habit — eat at meal-
times, and you fat girls try to acquire that
ability to get up from the table just a
little bit hungry. Thin girls, drink plenty
of milk, go in luxuriously for ice cream
if you like it, and have a malted milk in
mid-morning or mid-afternoon if you can-
especially if you're a summer office slave.
Delicious ice box desserts are blurbed over
the radio constantly and adorn the women's
pages of the newspapers, and no doubt our
own Modern Hostess can tell you a thing
or two about 'em, also. Fine for thin girls,
when not too rich and gooey. Fat girls,
stick to gelatine desserts, water ices, and
fresh fruits — plenty of the latter — and
watch your complexions bloom while your
figures slim.
It's not too hot to exercise ! You'll feel
ever so much better if you stick to an
exercise routine, even if you do per-sweat
a little while exercising. Don't kid your-
self, however, that, if you perspire a great
deal, you're losing tons in the process. You
do lose in the sweating — yeah — but you put
that weight right back on again with your
next drink of water. Just go on exercising
moderately, systematically and faithfully —
but never strenuously. Summer sports-
swimming and tennis and all — will keep a
figure trim, but not necessarily reduce it.
Swimming will develop a thin girl — legs
and chest particularly — but won't reduce a
fat girl a particle.
Next on the list of summer beauty aids
is the special sample offer I have for you
this month. Just fill out the coupon with
your name and address and begin watching
for this grand gift in the mail. It is a com-
bination sample offer that includes a special
formula cream and a new "light-proof"
face powder. The cream has a "reversible
action" that cleans the pores, softens the
skin and furnishes a powder base every
time you use it. When you smooth the
cream over your skin, it seems to disappear.
Then, as you massage gently, the action is
reversed — the cream reappears loaded with
impurities and dirt from the pore open-
ings. The cream is wax-free. The face
powder that you will also receive in this
free offer claims two new discoveries to
eliminate the problem of shiny skin. It is
light-proof and moisture-proof.
Next month I'll be back at the same old
stand with a little article about extra
beauty, for fall and winter. When you re-
turn to school or the office, or when you go
back to the home town, or everybody else
comes back to the home town, I want you
all to be groomed and ready for heaps of
dates and scores of boy friends so watch
for' it. I'll be seeing yuh !
Mary Marshall
MODERN SCREEN
149 Madison Avenue
New York, N. Y.
Please send me the free combina-
tion sample offer of cream and face
powder.
Name
Address
City State ....
YOU'RE KIDDING ! A GIRL^
OF MY AGE COULDN'T GET/
MIDDIE-AGE" $KIN! J
. . . BUT HOW WRONG SHE WAS
NO WONDER JIM KEEPS
BREAKING DATES! YOU'VE
LET YOUR COMPLEXION
GET SO DRY, LIFELESS,
COARSE-LOOKING. I'M
SURE YOU'RE USING THE
WRONG soap! why
don't you change
palmolive ?
8UT I DON T
SEE HOW
PALMOLIVE
COULD MAKE
SUCH A
IFFERENCE!
BECAUSE PALMOLIVE IS MADE WITH OLIVE
OIL... A SPECIAL BLEND OF OLIVE AND
PALM OILS, NATURE'S FINEST BEAUTY
AIDS, that's why it's so GOOD FOR
DRY, LIFELESS SKIN. IT SOFTENS AND
REFINES SKIN TEXTURE! CLEANSES
SO THOROUGHLY, TOO... LEAVES
COMPLEXIONS radiant!
I'm taking no more chances! from
NOW ON I'm using- only PALMOLIVE,
THE SOAP MADE WITH OLIVE OIL TO
KEEP SKIN SOFT,
k SMOOTH, YOUNG-!
MODERN SCREEN
RUGGED INDIVIDUALIST
{Continued from page 35)
"The Toy Wife" — to see her husband, to see
spring in Manhattan, to see two or three
plays. She not only had the impulse. She
also carried it out.
She flew, despite a weather report of
bumpy air, despite studio objections, despite
an expectation that she would find a wire
waiting for her in New York, telling her,
"Return immediately."
She flew despite the fact that her husband
has a horror of airplanes, and won't fly,
himself. If this isn't individuality, then
crabapples grow on gooseberry bushes.
Two days after her short, sudden visit to
New York — she was there only three days
when the studio recalled her — I saw Luise.
Knowing Clifford Odets' aversion to air
travel, I wondered (out loud ) how he had
faced the idea of Mrs. Clifford Odets' flying,
when even the studio found objections.
The answer was simple, so far as Luise
was concerned. She wouldn't object to his
smoking a pipe on the grounds that, if she
smoked a pipe, she would become violently
ill.
"We are civilized people," she said simply,
as if that explained everything. And per-
haps it did.
I had just puffed to the topmost tier of a
modernistic apartment building stacked
against a hillside in Westwood, to find her
in slacks in a living room whose walls were
mostly windows, with a large view of sky,
white houses on distant knobby hills ("like
Egypt," Luise said), and, far away, the
Sierra Madre Mountains. Even when she is
on the ground, Luise likes altitude. And, in
this small apartment, she has altitude.
SHE lazily considered some billowy white
clouds scudding across the blue sky.
Perhaps they inspired sharp memories of
her own recent flight. Abruptly, impulsively,
she said, "Oh, I had such a goot time in New
York ! You cannot think what it is like,
spring in New York. Every day. Cliff and
I went walking in the Park. The young
ducklings bobbing in the water, the young
blossoms on the trees, the bright green grass.
Everything, everything said, 'Winter is
past. Life begins again!' Sometimes, I feel
I get more out of these so-brief trips than if
I stayed for long times. I get the whipped
cream of everything. I crowd so much into
so little time."
I asked her if she often indulged these mad
impulses, like flying to New York for three
days, or (as once happened) fourteen hours.
"'Mad impulses?'" she repeated, puz-
zled. "I don't think they're mad. Do you
know how many times I have flown across
America? Thirty times! If I can go, I
sliould go. That is terribly natural.
"I don't like staying in Hollywood if I am
not working. I have to get away. Life is so
full of great, wonderful things, of more
things than moving pictures. I fill myself
up with this new freedom and other things,
with new thoughts, new experiences, new
sights, new people. Before I was married, I
went away, went exploring. I must admit
even if I hadn't Cliff in New York, still I
would go there many times."
She smiled persuasively, as if I must un-
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"Always, it has been like this. I don't be-
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learn. In Europe, even when I didn't have
much money, still I went on trips. I would
rather save my money to travel than to eat.
I wanted to go to far away places, where I
knew no one, and no one knew me, to be a
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stranger among^strangers, study new people.
I would rather see, watch and rtieet people
than read books. I can learn more from
them, watching their faces, their gestures,
hearing them talk. People fascinate me. All
kinds of people, the big and little ones, the
grown up ones, and the ones who never
grow up.
"Here in Hollywood I seldom go out.
If I do, people often look at me as if they
expect something, I don't know what. It
does harm to me inside. I must admit I hate
people staring at me. It gives me a very
loneh' feeling."
YET she cultivates aloneness. Consider
this modernistic eyrie of an apartment.
When her husband is not in Hollywood, she
lives here alone except for a part-time ser-
vant. She must like to be alone.
"I do," Luise admitted, candidly. "I would
lie if I do not say so. When I am working, I
need to be alone. A character is not created
in front of a camera. A character is created,
first, in the mind. I must be alone, to think
things clearly, to see what I must do to
make a character live and breathe. I like to
be alone with her, until I am part of her, and
she is part of me."
Moodily, she watched the scudding clouds
a moment.
"When I am sad, I like to be alone, also.
Do you know what it is like to be sick
to your soul, so sick that you become sick
physically?" she asked. "I found out last
year. When I first came to Hollywood,
I had one great wish : to become a very
good actress. Still I have that wish. But
now I feel that I will never get it here.
"I did not feel so at first, in 'Escapade,' or
in "The Great Ziegfeld,' or even in 'The
Good Earth.' No one could ask more oppor-
tunity than those. I was grateful. I tried to
show it. I worked, worked so hard. I
begged for more opportunity like those. And
what happened ? They wanted me to do pic-
tures with stories that were weak, and roles
I could not believe in. One was a gangster
picture. If I had done that, I probably would
have no audience left by now.
"The studio was asking, 'Will this role
harm her?' not, 'Will this role do her very
goot?' I was sick. The only cure for my
sickness was to change everything. I had so
tremendous a feeling of being crushed,
chained, helpless, with no chance to show
what I could do. I was to be made to fit a
pattern. I had to be free. I am passionate
about freedom. When I saw I couldn't go
on in my work, I wrote five letters, asking
.for my release from pictures. I wanted to go
back to the stage. But they didn't let me go.
Then I fought to change my contract. Fi-
nally, at least I got permission to spend
every year a few months on the stage. I will
be here six months. The other six months I
will be free for the stage.
"I was so happy after they change my con-
tract— so happy, so interested in my work,
so glad when I win the second Academy
Award. 'Now I will mean more to the
studio,' I said. That was what the Award
meant most to me. But a few weeks later,
everything was the same again. I feel that
the improvement of my work means nothing
to the studio.
"Maybe I should feel, 'If I make money,
what should I care?' But I can't. Some-
times I wish I could. But I don't have an
urge for money. I do have an urge to do
creative work. I have never fought with
them over money. Only work. But isn't it
terrible that one has to fight to do good
work !
"Why, zchy? I'm young, I'm not ugly, I'm
eager to do good work, so able to do good
work, if only I have the chance. Why must
I beg them to have trust in me, as they de-
mand that I have trust in them?
"I have nothing against Hollywood, noth-
ing against pictures. On the contrary, I
think they are the biggest medium any ac-
tress can have. The whole world is her au-
dience. I would be a fool not to recognize
that. And I want to work in pictures so
badly, give pictures the best that is in me.
But I don't feel that I can function right in
pictures, and it is sad if a person can't fulfill
herself in what she wants to do, and has to
seek other outlets.
"All the time now I think of fall, of go-
ing back to the stage. This should not be.
One should not live in the future. One
should live in the present. But if I live in
the present, and take serious the work I am
here to do, I'd feel so unhappy, I would beat
my head against the walls. I have to live in
the future.
AM I always true to myself? Yes! It is
my greatest fault, and my greatest
asset. It makes my biggest enemies, and my
biggest friends."
For a moment, Luise was silent. Then
suddenly, spontaneously, she said, "Have I
sound as if I think of nothing but my work ?
It is the very outlet of my being. Yes. But I
am not blind. It is not the most important
thing in life. I would hang my career on a
nail, the second my husband asked me."
Her smile was back now. "If that is the
right thing to say, I don't know, but it is
true. Rumors that Clif¥ and I are parting
because we work so far apart ? They do not
bother me. Cliff and I know better !"
I had gone to Luise Rainer, expecting a
temperamental close-up of Hollywood's
finest actress. But, somehow, I came away
with an impression, instead, of a human be-
ing, a very civilized human being, very much
in love, but also very much an individualist,
because she is an idealist.
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74
GET IT WHILE YOU
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(Continued from page 47)
In case you don't know, and you cer-
tainly should, Miss Farrell is a gal' with
a brain. She may play, and convincingly,
those dizzy dames on the screen, but once
the grease paint is off, she's out of character
and is herself again. While in New York,
she spent her few short days, not only
shopping and seeing all the good plays, but
looking to her radio future.
For, as she said, "You know, I want to
do radio and be so good that they will
want me even if I don't continue in pic-
tures. I know I can last in radio — at least
until television.
"Another little matter which caused a
slight altercation was the studio's wanting
me to play the mother of a nineteen-year-
old girl. I don't mind being a mother, but
I feel that if, as they said, I'm to be a young
Gertrude Lawrence, then I want to be a
young woman for at least a couple more
years, and not become old immediately. I'm
a mother, you know, but my son's not
nineteen. I expect to grow old, but not
before my time."
On her return, Miss Farrell goes into
the Torchy Blane series, in which she
became so successful recently. However,
she has quite a trip mapped out for her-
self en route.
"I'm going directly to Oklahoma for a
little hunting. I love to shoot, but imagine
me bagging a buffalo! That's just what
I'm to do ! It's all arranged. Besides
owning half the state of Oklahoma, my
friends have a game preserve. It seems
Elliot Roosevelt shot the first buffalo of
the season and when I get there I'm to
shoot the second. It's nice publicity any-
way, and they're mounting the head and
skin for my lodge in Arrowhead. They'll
fly it out to me along with the meat.
"You know, everyone has an idea that
buffalo is becoming extinct, or do you
care? As a matter of fact, they have to
kill off a certain number each year so they
won't overrun the place. I guess that's
why I'm to be honored by bagging the
second of the season. Anyway, it'll make
a good barbecue, although I'm not so keen
about either buffalo or venison. I'll take
a hamburger any time.
"To get back to where we started — all
I have to say in parting is, 'Get all you
can while you can, because if you don't
some acquisitive amateur will !' I think
I've learned a lesson in love ! And, those
boys out west had better look to their
laurels — and bankrolls — they're meeting a
new Farrell, and a smartie this time !"
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MODERN SCREEN
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unfaithful ? At first Merle answered,
"Oh, I should be so terribly, terribly
hurt ! I really do think I should feel that
everything -was over." And then she
thought a moment, and said, "I don't know
— it would depend on how much I really
loved him. If I really and truly loved
him, I believe I should try to shut my eyes
and pretend that nothing had happened.
If I was sure that he really and truly loved
me, and that this thing which had hap-
pened was a madness of the moment, I
should try to make every effort to hold us
together. I hope I'd do that. It would
be the right thing to do, wouldn't it? But
when one is hurt — even if only the vanity
is hurt — it doesn't make a great deal of
difference when you're suffering, does it?
There is another angle to that, too — the
man's angle. I saw a play while I was
abroad which made a wonderful impression
on me . . ."
SHE went on to tell briefly about this
play, which she had seen in Paris. "Un
Homme Comme Les Autres" — "A Man
Like Any Other." The husband, an in-
corrigible philanderer. The wife, idealis-
tically in love with him, very innocent,
very true. A gay party, attended by a
baker's dozen of beautiful and glamorous
women, each one a cooperative leading
lady in the husband's affaires dii coeur- —
rough translation, "bedroom farce." In a
fine burst of emotion, the husband tells the
wife all about his extra-marital episodes.
He insists he truly loves his wife, but
confesses that he is incapable of fidelity.
The wife is heartbroken — tears stream
down her face. What shall she do, what
shall she do? The rest of the play tells
what she does do, and it all ends very un-
happily, but that is beside our point.
"The fool, the stupid, blundering, selfish
male fool !" cried Merle, her big dark eyes
flashing. "I suppose it made such an im-
pression on me because it was so finely
acted. But I also felt that it had so much
in it of real life. Why couldn't he have
kept silent? Why couldn't he have fought
his weakness himself? Why did he have
to tell his wife this sob story, this true
confession? What is it in men which
makes them want to spill over like that,
putting the burden of forgiveness on wo-
men?"
"Then you wouldn't want your husband
to be so all-fired truthful that it would
make life uncomfortable?"
"That's right. Somewhere or other, I
read about a man who persisted in regard-
ing the world as a sort of 'moral gymna-
sium.' He would do his average, human
number of sinful and hurtful actions and
then, not caring so much about repairing
the damage he had done, but rather seek-
ing to exonerate himself, he would figur-
atively beat his chest and tear his hair —
delighting in a maudlin recital of his mis-
deeds. I think that's weak and wrong and
wicked. Where love is concerned, espe-
cially. Men are different animals from
women, we might as well admit it. A man
will be fleetingly intrigued by a lovely face
or an alluring figure. It isn't always flat-
tering, but there you are. _ If — I say if—
these attractions are a thing of the mo-
ment, the least he can do is keep quiet
about them. And when I become a wife,
I hope I will bring enough good sense
and sophistication to my marriage to pre-
tend not to 'notice anything' — enough
strength to kill petty jealousy.
"Mind you — if anything important and
real should come between my love and me,
I should want him to tell me about it.
Quickly and honestly. And I hope I
should be intelligent and decent about it
and say, 'Well, my dear, there it is, and
thank you for telling me.' Then I should
go into my room and cry into my pillow,
but I pray to heaven the pillow would be
the only witness to any scenes I might
make. Oh, dear — I sound too, too utterly
brave and wonderful, don't I? I'd prob-
ably throw chairs and lamps, and behave
like a perfect vixen. But I hope I wouldn't,
and I'd honestly try to be decent."
"What kept you from marrying the very
first object of your affections?" we inquired
nosily.
"I was lucky," she answered and giggled
— the famous Oberon giggle, admired on
two continents.
"And since then?"
"My luck has held."
"What has usually been the reason for
the break-up of your romances?"
"My jealousy," she answered honest-
ly. "I'm jealous. Everybody who is ca-
pable of loving is capable of jealousy. But
we women should try to stifle petty jeal-
ousy, as I said, and your humble servant
thinks she has learned a thing or two."
"Well, what are you waiting for now?
What kind of a man do you want?"
"Can't tell. But I'll know him when
I see him." Her eyes were dreamy. Then
they stopped being dreamy, and twinkled.
"I say, I hope I don't wait too long. I'd
be frightfully disconcerted if I remained
Merle Oberon, spinster, all my life."
T HAD a quick, incongruous picture of the
slim and lovely person sitting opposite
me in the heavenly white satin housecoat —
very tailored, and fitting perfectly, and
probably quite expensive — an utterly in-
congruous picture of spectacles and knitting
and cat and parrot. It was my turn to
giggle.
"What's the joke?"
"I can see you looking under the bed
for burglars already," I said.
"I hope he's a good-looking burglar."
"Oh, he's the spit and image of Robert
Taylor. And he's never too truthful. When
he winks at blondes, he always pretends
he's got something in his eye."
"Now you're pulling my leg," she said.
She feels rather "half way between,"
generally speaking. Half way between
England's and Hollywood's studios. Half
way between the successful "Divorce of
Lady X" and the almost-sure-to-be-success-
ful "Graustark," with Gary Cooper. Half
way between Technicolor and black and
white, which reminds us of the Oberon
hair. It's half way between, too. She was
sick about it, and with quite un-starlike
candor, confessed that she had had to dye
for her art, to pull a very old gag. In
Technicolor, it seems, her dark hair with
the lovely red lights in it had been too
dark — had cast shadows on her pretty face.
They tried wigs. Wigs looked all wrong,
somehow. I asked about this new gold
powder that some stars use when they want
to highlight their locks.
"I'm always the one that some perfectly
wonderful discovery won't work on," she
declared bitterly. "It seems that that new
gold powder is only practical for (a) light
brownettes and (b) every other type ex-
cept me. Me, I'm too brunette. So — "
with a philosophical sigh — "I d)fed the hair,
and now I'm letting it grow out." _
And Merle is "half way between" in an-
other sense, too. She is half way between
the gay, exciting romances which inevitably
76
MODERN SCREEN
come a-paying tribute to her dark beauty,
her very appealing femininity — half way
between all that, which she enjoys no end,
and the more real happiness which she
feels sure she'll find soon. An enduring
love, a love that will be more than a
quick flame that bursts up and dies down,
but which will have the element of fire
in it, nevertheless — that's what she wants.
"You want quite a lot," I said. "You
want to continue with your career. You
want just such and such a man, and no
substitute. And a real marriage, not just a
legalized romance."
"And children," she added. "You forgot
children."
"You hadn't said anything about chil-
dren."
"I know — because it always sounds so
silly and cheap and everything when an
actress says how she adores the dear little
babies. But I, can't help how it sounds.
I want two — two at least."
"That's quite a lot for any woman to
manage. Career, children, home, husband."
"Quite. But I have told you I expect a
lot from marriage, and from the man I
marry. I didn't tell you that I also expect
to give a lot to marriage and the man I
marry."
DUT wait . . . this having children . . .
it's a hazardous undertaking for a
screen star."
"It has been done, hasn't it?"
"Yes, but the instances where a star
has had babies, kept her home and hus-
band, and managed a successful career, too
— they're very rare, Miss Oberon, very
rare."
"I don't care," stoutly. "If it has been
done — and it has — then I can do it, too.
And I shall. Why should it be so haz-
ardous ?"
"Well, for one obvious reason, there's
your figure. A slim figure — part of your
stock in trade."
"Look at my friend Norma Shearer.
Then there's Marlene, Joan Bennett, and
Virginia Bruce. And Gloria Swanson,
whose star is in an eclipse today, though
why it should be, I don't know, for she
looks as lovely as ever, and why one of
those idiotic producers don't do something
about her I don't know. And she never did
better work than she did right before and
after the first two children arrived."
"Well, there's the time all that takes.
And for an actress to be off the screen for
any length of time is supposed to be dan-
gerous."
"I told you I shall only want to make
two pictures a year when I'm an old
married lady. And I'm working hard to-
ward that desirable two-good-pictures-a-
year goal."
She is, too. She attends strictly to busi-
ness. That's one reason she's had no time
for romance lately. She made two pic-
tures in England. Came hurriedly to New
York. Went on to Hollywood to do
"Graustark" and another as yet untitled
film there. In New York, she attended
necessary parties, luncheons, and did in-
terviews. She was never too busy to see
any reporter. No fuss. No temperament.
As a. matter of fact, there is never any
temperament as it is generally understood.
She has never thrown a shoe at a maid,
prop man, hairdresser, nor even sassed a
director. When she has a scrap in her
system, she marches right into the pro-
ducer's office and has her scrap with 'im
as can take it. When she's nervous and
tired, she takes it out in giggling.
"This giggle has seen me through many
a trying situation," she said. "Let's hope
I don't up and marry a man who can't
abide a giggler."
Don't give it another thouglit, Merle
He'll adore you, giggle and all. And he's
a lucky chap, whoever he may be.
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78
MY SON HAS MONEY
{Continued from page 57)
And Jackie came to me. I'll never for-
get the look in those child-eyes, with the
tears perilously near, as he said,
"Nobody wants to play with me, Miss
Ruth. Will you?"
"Of course I will, Jackie," I said.
He ran and got a pillow for me, and
placed it in the dusty courtyard so that I
might sit down without ruining my corona-
tion gown. And there we sat, shooting
agates and "commies" until the director
called Jackie. Then Jackie's father called
and asked me to chat with him and his wife
on the porch of their bungalow on the lot.
"I've been watching you two, Ruth,"
Coogan said. "You're just like a couple of
kids. You don't act any more like a grown-
up than Jackie does."
His Irish eyes misted a bit I thought.
"Sometimes," he went on, "I feel badly
when I think that Jackie is missing the
regular boyhood he should have. But I'm
going to see to it that it's made up to him
in other ways."
IT was then that he told me of his plan
to make Jackie's future as secure as it
could possibly be made.
"Already," Jack Coogan said, "my son
is rich. He'll never have to worry. When
he's grown up, and ready to marry, he'll
have a million dollars as a bulwark. As
long as I live, he'll have nothing to worry
about."
"As Jong as I live!"
Afterward, I thought there must have
been a somber prophecy in those words.
"It is my dream," Jackie's father told
me. "that Jackie and I will be partners,
always. I feel that we are partners, now,
Jackie and his mother and me, all for one
and one for all.
"I want to do what's best for him, and,
with God's help, I will. You know, Ruth,
Chaplin is very anxious to make another
picture with Jackie, just now. Charlie
has offered me a lot of money. But I've
turned it down. It's Jackie's own future
I'm thinking of, and I believe I can do
better by that future this way."
"What are you going to do?" I asked
him. "Create a trust fund for Jackie?"
"Yes," he said, meditatively, "Lillian and
I are going to put his money in trust for
him so that while he is young, his earnings
will continue to draw interest for the
future."
"Yes," I volunteered, "old man Interest
works day and night." And even while he
sleeps, I thought, as I watched the little
fellow rehearsing his scene like a veteran,
even though his boots were too tight.
"We will always look after Jackie's
interests," beamed Lillian Coogan as she
gazed upon the huge diamond that Jack
had just given her.
"And there is one thing more I am
going to do. I want to keep Jackie Coogan
Productions alive. Then, you see, if Jackie,
after he's been to college, and married, and
is ready to settle down, wants to go into
the production end of the business on his
own, he can do so."
We talked often along similar lines
while "Long Live the King" was being
filmed. During the three months we were
on that picture, I formed an affection
for Jackie Coogan which made him as close
to me as though he were my younger
brother. And, of course, I didn't feel any
the less kindly toward Jackie when, very
gravely, he presented me with a miniature
chair he had made for me in his own work-
shop, and said, "Miss Ruth, I want you to
have this chair because you're my favorite
leading lady."
Even at that time, Arthur Bernstein, the
man who later was to become Jackie
Coogan's stepfather, was an important
member of the Coogan menage. He had
drifted into the organization casually
enough, and very quickly had won the con-
fidence of both Mr. and Mrs. Coogan.
They decided to make Mr. Bernstein gen-
eral manager of the Coogan Productions. I
do not recall that Jackie ever showed much
affection for Bernstein, but that, of course,
was natural, since he was so close to his
own father.
I have often thought what a poignant
situation existed between father and son,
loving each other so deeply, yet, somehow,
kept apart by the strangeness of circum-
stances.
Jack Coogan, Sr. was working so hard
to build a fortune through his son for his
son, that he had no time for those informal
father-and-son relationships that dads and
boys in ordinary walks of life may have.
And Jackie, of course, was, as an interna-
tional idol, denied all the joys of boyhood.
I believe that in the close companionship
that was theirs in later years, both of them
were trying to make up for the denials of
the past. Jack and Jackie, in the few years
preceding Jack's death, were more like
chums than anything else. And the instant
that Jackie, as a pre-adolescent lad, re-
tired from the screen, his father began
devoting himself whole-heartedly to seeing
to it that Jackie got all the things he had
missed during his interlude of fame and
hard work before the cameras.
A FEW years ago, I formed a corpora-
tion and organized a repertory theater
in Los Angeles. I was very anxious to
produce the English success, "Young
Woodley," on the Los Angeles stage, and
Jackie, then a tall, handsome lad in his
teens, seemed ideal for the title role. But
Jack, senior vetoed the idea.
"No, Ruth," he said. "Not now. Jackie's
doing what I want him to do. He's a
student at Santa Clara College, and he's
having the time of his life. I don't care if
you could pay him $10,000. a week. He
has all the money he'll ever need.
"I wouldn't want him to miss even one
week of his life at college. When he's
twenty-one, he'll be a free agent, with
money to do with as he pleases. I, per-
sonally, am going to turn over that million
to him."
I saw Jackie, not long after that, with a
merrymaking throng of college kids, dining
and dancing in San Francisco's St. Francis
Hotel, celebrating a football victory. He
was, indeed, having the time of his life.
Then came the day when I read of Jack
Coogan's death in an auto crash. I knew
what the tragedy must have meant to
Jackie. I knew it even more vividly, when,
a week after his father's funeral, I saw
Jackie at the studio.
Man-tall, broad-shouldered, he had the
same wistful look in his eyes that he had
when he made millions laugh and cry in
"The Kid" and his other successes. I
groped for words with which to tell him
how deeply I sympathized with him. He
looked at me strangely, and said :
"Nobody knows how I feel unless they
know how it feels to lose your best friend."
Yes, Jackie Coogan lost his best friend
when Jack Coogan catapulted from a speed-
ing automobile as it overturned in a terrible
twist of Fate.
If Jack Coogan were alive today, there
would have been no sensational headlines.
But the channels of life are devious, indeed,
as Jackie Coogan has discovered.
MODERN SCREEN
IT'S FASHIONABLE TO BE FEMININE
{Continued from page 49)
roll of the _ same material as the gown.
A black picture gown has a "poured-in"
basque, and its skirt sweeps the floor in
regal folds. Her favored birds, this time
in the form of flat clips, alight on either
side of _ the deep scalloped neck line.
Binnie Barnes, in the same picture, plays
a lady bent on acquiring all available men.
To assist in this enterprise, she wears two
slinky black cocktail gowns, almost identi-
cal in cut. Both are siren effects, exposing
a considerable, portion of Miss Barnes'
northerly regions. Bodices are extremely
low, and cut straight across, with narrow
shoulder straps. On one, the straps are
single, and a short necklace gives the glit-
ter touch. The other has double straps,
joining at the shoulder, and separated at
the bottom with huge rhinestone clips. A
flowing cape, fashioned entirely of black
sequins accompanies this gown.
As Loretta Young goes on a Continental
tour in "Four Men and a Prayer," her
wardrobe is adjusted to all climates from
furs in London, to tropical selections for
South America.
Miss Young is one of the most veil-
conscious of Hollywood stars, having been
in the vanguard with the sweeping waist-
length showers of veiling. In this picture,
Royer gives the veil a novel treatment. It
serves as flattery without getting underfoot.
On a small roll brim sailor, white veiling
is caught in a huge chou in front, and falls
down the back to the waist. This is worn
with a trim black suit and a bit of lame
vest showing. Hats of the haywire school,
you will notice, are always accompanied by
the simplest of frocks— otherwise there's a
rummage sale effect.
A casual wool frock has a tiny beret
with an enormous silk flower perched di-
rectly in front.
A most attractive summer outfit is an all
white tailored suit worn with a draped
Roman striped turban, the Roman stripes
repeated in gloves and slippers. This is
an indication that the turban will take its
place in summer life, and good news for
out-doorsey girls who can't keep their hair
perfectly groomed while vacationing.
ANOTHER of Loretta's simple sports
■tJ- frocks is topped by a becoming small
hat shaped exactly like half of a cantaloup,
made of white crepe.
Three evening gowns are outstanding.
Two are black, and one white. One has
long sheer sleeves and an enormously full
skirt patterned in sequin flowers. The other
black combines coy exposure with modesty.
It has a long slim skirt, swirling at the
ankles. The top is backless and practically
frontless. draped with a long sheer scarf
of matching chiffon.
Most dramatic of the evening things is a
white gown with a Grecian flavor. Its
skirt falls in graceful folds. The bodice
consists of two wide bands, fastened at the
waist, and intricately draped and twisted
across the back to end in a rolled belt.
For chillier climes, Loretta wears a prin-
cess coat with a huge face-framing fur col-
lar which continues in .wide revers to the
hem. Her tiny hat consists of three fur pom
poms. Sounds like a lot of stuff, but Miss
Young has the "slimth" and grace to handle
it.
Irene Dunne has a series of brilliant cos-
tume changes in "Joy of Living." As Miss
Dunne is supposed to be a most successful
actress, designers Halloch and Edward
Stephenson were allowed to go to town on
her wardrobe. The "stage" costume for
her first song is a period eye-filler. There
is a minimum of bodice, with a huge silver
lame hoop skirt bordered in white fur, and
a white fur scarf draped across the top.
She leaves the theatre in a gown fash-
ioned of silver sequins and topped by a full
length white fur wrap. Since she is only
going home, there is no particular reason
for the sartorial hoop-la, except to look
showy while being besieged for autographs,
in the picture.
Miss Dunne's street clothes leave no
doubt that the bolero is a very definite part
of feminine America's wardrobe. It's a
touch too universally becoming to be soon
discarded.
One deceptively simple black frock has
a flattering bolero, made entirely of narrow
white fringe. Another trim bolero suit is
brightened by a sequin vest. A black coach-
man coat has leopard fur revers and leop-
ard gauntlets on black gloves. A fan-shaped
fur collar rising high in the back makes a
show piece of another plain tailored coat.
To follow fashion dictates according to
current films (and you can't have a better
guide, followed with discretion) ruffle and
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fant for evening, and wear boleros for
everything from beach to ballroom.
Lovely Patricia Ellis pro-
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test. She's 5 feet 5; weighs
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horseback. (See her in Repuh-
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79
MODERN SCREEN
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80
MEMO ON MILLAND
(Continued from page 46)
faults. I decided to test Ray, take him up on
his statement that success enables him to be
more frank.
"All right, name one of your pet peeves,"
I challenged.
He didn't squirm out of it.
"For one thing," said Ray, "I don't like
to go to parties where everything's planned.
You can't relax if you have to pitch into
every game, and can't choose what you want
to do. When I entertain, my company can
fold up in easy chairs with newspapers, if
they want to. I don't herd people. Anyway,
my home isn't a Hollywood mansion. We've
just built it, but we've remembered the fu-
ture. It's modest enough so that when my
day in pictures is done we can still afford to
live in it. It's compact enough so that my
wife and I can eventually take care of it by
ourselves."
RAY as conservative as that? Then, in-
deed, he has been changed by success !
He has always lived to the hilt. He has
been extravagant, and impractical, and a
daredevil if ever there was one. Oppor-
tunities and invitations had always rained
upon him, and so why shouldn't he be gay ?
"Yes," he confessed, "I have been af-
fected by my recent success. I've settled
down, to an extent. I used to contend I
couldn't save. I realize now that I owe it to
my wife to provide security for her. I have
been so broke that I've had to eat at drug
stores, on credit, for months. I didn't mind
so much. But I don't want that ever to hap-
pen to her. So I am starting to save for the
future.
"But," he added quickly, "I haven t
changed at heart. I still enjoy being ex-
travagant. I buy cheap cars instead of the
iDcst now, but I don't like them as well ! I
attempt to keep to a budget, but it's no fun !
On the surface, during this past year, I
have altered considerably. I'm more busi-
ness-like. I conform to Hollywood tradi-
tions as much as I can. I try to play ball as
it's supposed to be done here. And I've had
to pay for my advancing.
"It isn't the work I begrudge. I didn't be-
gin to be any good on the screen until I
stopped kidding myself, of course. Origi-
nally I got into pictures by just being on the
spot when someone was wanted. I imagined
all I had to do was to shave and be photo-
graphed. Then I suddenly heard my voice.
It was horrible ! I'd been inflicting that
chatter ! I couldn't afford any dramatic
coaching, so I dove into reading Shakes-
peare— whom I'd blithly passed by thereto-
fore. I had been rattling on at break-neck
speed. I read aloud to myself for hours, for
months, until I could express myself better.
I still have to deliberately think of my voice
when I enter each scene.
"This past year I've worked so steadily I
haven't been able to do many of the things
I like. There's your answer. You trade suc-
cess for satisfaction of your whims. I have
to live on a schedule now. I have to — or
should — think of every move I make, before
I make it, weigh every remark. This cau-
tion is an essential, they tell me. I_ have
never been tied down before. It's foreign to
me. I don't like it. I'm not free any more."
He winked at the waitress, returned from
distant shores to minister to us. Surprised
at his more cheerful mood, she straightway
forgave him for having been impatient. Wo-
men forgive Ray anything.
Debonaire and clever, he loves the
brilliance of the world's smartest cities.
He has known Paris and Rome and London,
can guide you to the only hotel worthwhile
in Budapest, and the perfect resort, on the
Riviera. He has laughed and loved and ad-
ventured until these exciting tendencies are
his dominating traits.
But in Hollywood there is, despite the illu-
sion of a fast tempo, no such life as Ray has
led. For awhile he believed he could go on
the same way. He wouldn't suppress his in-
nate instincts. He learned that he'd have to
concentrate, deny himself. He learned that
pictures are, primarily, a business. So he
had to become fairly practical. For his
crack at success, as the world describes it,
he has made a determined campaign to
comply with what, to his nature, are strange
rules.
"It's not for the money, though I like
money so I can live spontaneously well. I'm
squelching a lot of my habits so that I can
deserve acting success. I want to earn some
honor in my profession. When I walk down
the street I want people to say, "There's Ray
Milland." I don't want them to add, 'He's in
the movies,' as though I were merely a freak.
I want them to say, 'He's a good actor !' I
realize that acting is the only job I can make
good at. I'm in no way equipped for any-
thing else. So far I think I've done a lot of
filling-in, as it were. Now I'm tackling these
real roles with a vow to make the Academy
Award come within reach !
"If I should fail as an actor I'd have no
self-respect left. So success, even on such
stern terms, is what means most to me now.
Even," he laughed, "if once in a while I still
get the old urge to go after adventure, as I've
had it today. I think I can become a good
actor. I'm very adaptable. Furthermore, I'm
quite sophisticated. I don't mean that I favor
carousing or blockheaded behavior. I mean
that I have been lots of places, have done
most everything, and, consequently, am very
tolerant. I have a mellow outlook towards
the troubles of others. I can understand the
reasons behind their moves. There aren't
many real sophisticates. Paul Bern was the
most sophisticated person I ever met in
Hollywood. He had such an understanding
of everything which goes to make up life.
Don't," he warned, "confuse sophistication
with being blase. I hate blase people !
"1" AM still romantic. I have pipe dreams
•i- about saving the country. I'm extrava-
gant, but in a new way. Now it's with my
time. Often when, I come home at night I'll
watch the sunset for forty-five minutes,
when there are a million Hollywood duties
I ought to be attending to. So-called incon-
sequential things like that have always in-
trigued me !
"I still read a great deal, and my taste is
quite varied. I like astronomy, love to pon-
der on the composition and possibilities of
the planets. My favorite book now is one on
plant life as it's supposed to be on the moon.
It's keen. Besides that, right now I'm wad-
ing through twenty-four volumes of the En-
cyclopedia Brittanica !
"I .am not gullible, but I can be sold be-
cause I hate to hurt anyone's feelings. I hate
to demand, to take advantage of another's
situation. I'm only blunt when I know it
won't harm others."
Ray Milland enjoys all artistic triumphs.
Until" Hollywood he was exceptionally ath-
letic, crazy about all sports, and pretty good
at them. He still has the urge, but no time
to relax leisurely. He misses that too.
He says that he is not easy to get along
with, that he has "a flair for moodiness," and
also a bad temper — which he knows how to
use. All right, a man as magnetic as Ray
Milland has a right to explode once in a
wliile ! Most people find him a very ex-
citing fellow.
MODERN SCREEN
SPLINTERED ROMANCE
(Continued from page 41)
I had made, to show him exactly what I
wanted. The sketches were of an Irish kid
I knew in school, a newsboy. I wanted
Charlie to be the same kind of kid — always
cocky, always baiting somebody, and al-
ways covering his tracks by being whimsi-
cal. He was always fighting with himself.
In spite of the mean things he'd do, his
goodness was forever cropping out. And
that's how Charlie turned out to be. He
hasn't changed a bit since the first day
I knew him. Even his voice is the same.
'^J'OT that he's completely the same
^ Charlie he was then. He's worn out
hands and bodies and clothes. But his head's
still the same. I've had six woodcarvers
and a modeler try to make me a duplicate
— just in case anything ever happened to
Charlie. Anything like termites or a fire,
say. They've got the shape and the form
and the color of his head. But they can't
get that spark of life, that soul.
"Whatever that Certain Something is —
rnaybe it's sex appeal — it made him a so-
cial success right from the beginning.
People reacted to Charlie. They kept their
eyes on hiin. 1 was just 'the guy with
Charlie McCarthy.' That was the smart
thing to do — fade into the background. The
better I could create the illusion that
Charlie was alive, and doing his own talk-
ing, the better the act would be."
_ But when that started happening, Edgar's
life stopped being the same.
"I had never been 'one of the gang.' .
Other kids had never exactly accepted me
as one of them. I was eccentric — unpre-
dictable. For one thing, I was always
drawing. And now it was even worse.
I had a dummy I could make 'talk.'
"In school I had my mind on other
things, things like the 'Wizards' Manual,'
ideas for gags. I got such low marks that
I had to build up a defense mechanism. I
used to say to myself, 'Look at Thomas
Edison. He wasn't bright in school,
either.' I just got by until I ran into
history. I was flunking that— flunking
right out of school — when my teacher saw
Charlie.
"There was an entertainment at school.
They asked me to appear. I put on a
little act about Charlie skipping school.
The principal's name was Ralph Brown.
I warned Charlie that, if he didn't watch
his step, he'd end up in Mr. Brown's of-
fice, on the carpet. 'Brown's office?'
Charlie asked. 'Ralph Brown's office,' I
said, severely. 'Oh, you mean Ralphie,'
Charlie chortled. 'You call him Ralphie?'
I^ demanded. 'Ralphie — Brownie — what
difference does it make? We're like that.'
He raved on, to my embarrassment, about
how 'palsie-walsie' he and 'Ralphie' were.
Finally, I thought he ought to know that
Mr. Brown was sitting right in the front
row. 'Aw, who you trying to scare?' he
chirped. But he looked at the front row.
'Oh, my God!' he said and fell over back-
ward.
"Even Brown laughed. And my history
teacher — who had always thought of me as
a dummy— marvelled at Charlie. After see-
ing Charlie, she never called on me again,
and she saw to it that I passed history
without trying the final examination. That
was Charlie's first triumph. His kidding
that principal, and getting away with it,
was the first tip-off that he could do dar-
ing things that I couldn't do, myself.
"I had my quota of suppressed desires.
And, between you and me, that's one rea-
son for Charlie's success. He's spent most
of his life helping me get rid of suppressed
desires. Like talking back to big, tough
guys. And heckling my betters. And
flirting with pretty girls.
"Charlie always was a ladies' man. I
vvanted to be, but couldn't, because I
didn't have the nerve. But Charlie wasn't
troubled with bashfulness. At first sight,
he could flatter a pretty girl brazenly. If I'd
tried the same thing, I'd have been hauled
off to court as a masher — and got thirty
extra days if I'd said it was 'all in fun.'
'TpHE funny thing was, girls never seemed
A to get the idea that these sudden
crushes of Charlie's might really be sudden
crushes of mine. They always acted as if
he was talking for himself. If I ever did get
acquainted with a girl without any help
from Charlie, she wasn't happy until she
had met him. And once Charlie had told
her what he thought of her — well, anything
I myself could find nerve to say was pretty
tame. That happened all through high
school and college. It still happens."
Edgar went to Northwestern University,
famous for its beautiful co-eds. If he had
had half of Charlie's flair for blarney, he
would have been the Don Juan of the
campus. As it was, practically the only
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dainty hand he could hold, and call his,
was Charlie's. He didn't hold Charlie's
hand from choice. Ah, no. There was a
bit of necessity attached to it. He was
working his way through college by ap-
pearing at entertainments with Charlie on
his lap.
"Charlie didn't give me many chances to
have dates. When I wasn't studying. I
was working. And when I wasn't doing
either, I had to be rehearsing. There are
three things that make you a ventriloquist.
First, an unusual formation of the roof of
your mouth. Then a little manipulation
of your tongue against the back of your
upper teeth. And practise. You can never
stop practising.
AFTER college, Charlie made it even
more impossible for romance to come
into my life. He took me over a lyceum
circuit up in the Dakotas and Minnesota
and Northern Michigan, in a series of
one-night stands — in an act that consisted
of ventriloquism, magic, quick sketching
and, once in a while, hypnotism.
"My first appearance was in the town
of Velma, South Dakota. My audience
was mostly Indians in blankets. They
never moved a muscle all during my act.
It was like playing to a rock-pile. I played
town after town with two hundred popu-
lation. When I hit a town with five hun-
dred population, I felt as if I was in the
Big Time. A fine chance for romance I
had !
"If I wanted companionship evenings, I
had Charlie or the owner of the local hotel.
I spent an evening once with a hotel owner
who told me the world was flat. He
knew; He'd traveled. Another time I
pulled into a hamlet where I was going to
put on my act in a church. The preacher
told me beforehand he didn't know
whether anybody would turn out. People
might be afraid the church would fall in,
with me performing magic there, toying
with the supernatural, as it were. About
thirty people finally showed up — all in the
back of the church. They were afraid to
come up front.
"After that I played the hill country of
Tennessee and Kentucky, where hill-billies
would come to the shows carrying rifles,
and the rifles had nicks in them. I wasn't
able to fall in love with anybody on that
trip, either.
"It was on that trip I nearly lost Charlie.
The Chautauqua tent caught fire, but I
got there just in time. I lost everything
else, but I saved Charlie. And Charlie's
been saving me ev-er since. We do a scene
like that in this new picture. 'Letter of In-
troduction.' Only this time it's a theatrical
boarding house that catches on fire.
"I often wonder what would have hap-
pened to me, if I hadn't managed to save
Charlie that day. No other dummy would
have been the same. I'd probably never
have gone on with ventriloquism. I might
even have quit show business. I might
even have married.
"I went into vaudeville after that._ I
started in a tough section of Chicago, in a
theatre where ttie audience heckled every
performer who stepped on the stage. Some
loud-mouthed so-and-so kept giving me the
works. Finally, Charlie piped up, 'Hold
on now — one dummy at a time.' That
squelched the so-and-so. It was the first
time Charlie ever squelched anybody ex-
cept me. That gave him ideas. He'll
tackle anybody now.
"Vaudeville was tough. I was in it
for three years and I know. Romance was
impossible. I never met any girls but
showgirls. And what showgirl could get
excited about a dummy's assistant, in a
ventriloquist act, that 'went on' right after
the animal act or the acrobats? What
future did / have?
"I didn't really have a chance to fall in
love till I was in the Big Time, and
could afford to expand the act, and have a
girl in it. I worked up a skit about a
tonsil operation — with Charlie the patient,
me the doctor, and a girl the nurse. I
played it for years. During that time, I
had three different girls in the act. Two
of them worked in it for three years each.
And I fell in love with all of them, in turn.
And each of them married somebody else
(before long).
"One of them married a stock broker,
another a lawyer, and the third one mar-
ried a doctor. Oh, yes, they had good
taste. But so did I. They were beautiful
girls, all three of them. I lost the last one
when vaudeville started dying, and there
was a stock market crash on top of that.
I not only didn't have a future, I didn't
have a dime. My presents couldn't com-
pete with the presents the doctor sent
around; But the worst part was — I couldn't
say anything. The doctor was a swell
fellow. I still think so. I don't dare go
through the city where they live, without
stopping off to see them."
Losing the girl, he lost all interest in
trying to keep the act going. He stopped
kidding himself that movies and radio
weren't killing vaudeville. He went into
night-club work. He and Charlie put on
top hats, white ties and tails, and went
sophisticated. ("The depression was the
best thing that ever happened to us," he
says.)
Night-clubs led to radio, and radio led to
movies. Now he's so busy that he has
no time for romance. At the moment, he
is working eight hours a day in pictures,
two evenings a week at the Cocoanut
Grove, and doing a weekly radio program,
for which he has to write all his material.
The rest of the time he has to look over
contracts for new Charlie McCarthy
products, dictate letters to his secretary, ,
give interviews, talk to publicity men, eat
and sleep. He says, whimsically, of his
lack of free time, "The nicest thing about
being famous is that now somebody will
listen to me."
SOMEWHERE, now, there must be
some girl who will eagerly listen to him
— when he has time to talk. But Edgar
isn't so sure. He still thinks there are very
few girls who would be interested in him.
"Charlie seems to rate with all kinds of
girls. As for myself, if I rate at all, it's
with girls of an intellectual type. It has
to be that way — some girl who's smart
enough to know I don't want to sit and
listen to her rave about Charlie. Some
girl who's smart enough to talk about
ancient Aztec civilization, or the rate of
rainfall in Tibet — anything, anything ex-
cept Charlie.
"I like intelligent women. When a girl
reaches thirty-five she has to have some-
thing besides a face that once was pretty,
and a figure that once was trim. If she
hasn't anything but a make-up box, a diet
and a patter to rely on, she'll be fighting
a losing battle from thirty-five on. If she
has brains, she's in the running as much
as ever.
"I don't know about Charlie — but that's
the kind of girl 7 like. Not too beautiful,
but easy to look at. A girl with the cour-
age to be herself, who takes time to think,
and can express herself. A girl like. Andrea
Leeds. She's the perfect example of the
type I mean."
Now, there have been romance rumors
about Andrea Leeds, and none of them has
mentioned Edgar Bergen. I asked Charlie
McCarthy if there might be an unsus-
pected romance here. Frankly, Charlie
was surprised and disconcerted. "Well, mow
me down!" he gasped, and I was left to
wonder.
Could Bergen have a secret from that
splinter of a McCarthy?
82
MODERN SCREEN
BUBBLING BILLIE
(Continued from page 39)
for a woman to act as if she owns a man, as
if she can order him about, tell him what to
do and what not to do. You can never hold
a man by trying to possess him, by dogging
his every movement, by questioning him
about where he has gone and whom he has
seen. If a man has done something you don't
like, if you suspect him of being infatuated
with another woman, don't make a scene
about it."
"That must take a terrific amount of self-
control," I said.
"I know," Billie Burke sighed.
"Men, you know, are like little boys,"
Billie said. "When they've done something
that will hurt you, they brace themselves and
fight back if you begin to hammer at them,
but, if you say nothing, they become ashamed
of themselves, if you give them time."
When Flo Ziegfeld died a few years ago,
leaving Billie penniless, there were few who
didn't pity Billie and ask, "What will she do
now ?"
Flo Ziegfeld's wife. A helpless woman
who depended completely upon Flo's kind-
ness and his strength. That was the picture
she had allowed the world to see, knowing
that her seeming weakness was the source
of Flo's greatest strength, that it was the
thought of the helplessness of his tiny, au-
burn-haired wife that gave him the courage
to go on when things looked blackest.
TODAY Billy Burke has proven how
idiotic was that picture of herself as a
dinging vine, for she is more successful
than ever, and goes into one picture after
another, playing all kinds of roles, from the
twittery, nit-wit, chattering, hopelessly
dumb mother in "Merrily We Live," to the
bossy, possessive woman who tries to dic-
tate every moment of her husband's life
in "Topper" and its sequel, "Topper Takes
a Trip." But no matter what type of
women she plays, there is never any ma-
liciousness in the portraits, but always a
sort of tender, gay humor.
I asked what she thought of the type of
woman she plays — whether such women get
more or less out of life than the smart ones.
Her hand fluttered to her throat and briefly
touched the miniature of Patricia as a baby.
"Oh, they get more, much more out of life.
Often they're not as dumb as we think, for
they don't take on the worries that other
people do. They don't want to be bothered
with bothersome things. Men look upon
them as children, baby them a lot and usual-
ly encourage them. In some ways they make
more desirable wives than obviously clever
women, for they don't try to run their hus-
bands.
"When I began to play scatter-brained
women, I hated it, for I was afraid that I
would have to play women who were cruel
and selfish, women who sacrificed their
families to their own whims. But I loved
playing the type of scatter-brain I had to
portray in 'Everybody Sing' and 'Merrily
We Live,' for those women were essentially
kind-hearted. Both pictures were made at
the same time, and it was fun trying to show
two different kinds of women with the
same type of mind. I've known women of
this type and liked them a lot."
"Don't such women," I asked, "bring a
great deal of woe to their families?"
"Oh, no," said Miss Burke, "they usually
bring happiness. In fact, the smarter wo-
men are, the dumber they'll play, if they're
really clever. It takes a doubly clever wo-
man to hide her cleverness. Look at Eleanor
Roosevelt, for example. She is a brilliant
woman who manages to conceal the fact that
she is so clever."
"Eleanor Roosevelt !" I exclaimed. "I
can't think of her that way. It seems to me
she's such a super-woman."
"That's your reaction to her," Billie ex-
plained, "but it's not her reaction to herself.
When you hear her talk you realize that she
doesn't think of herself as outstandingly
clever, that she doesn't feel she knows it all,
but that she is just going around trying to
help people with their problems. And she
never interferes in President Roosevelt's
business. She sees to it that he is the head of
the house."
I asked Billie Burke what she considers
her own greatest faults.
"I'm a little vague," she said, "I'm not apt
to act on my first instinct, which is usually
the right one, and I worry Patricia too much
and try to force my ideas on her before she
is ready for them."
At one time Billie hoped that her daugh-
ter, who is now twenty-one, would be inter-
ested in the stage, and even wrote an article
in which she answered those people who
asked her if she would let her daughter go
{Continued on page 96)
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MODERN SCREEN
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MOVIE REVIEWS
(Continued from page 7)
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i^ic Crime School
This is a compact, rapidly-paced picture
which pulls few punches, and which should
interest and entertain any audience. Main
reason is that the "Dead End" kids moved
to the Warner lot in a body for this pro-
duction, and the tough, glib-tongued char-
acters they've already established remain
as true to life and almost as forceful as
they were in "Dead End."
The picture hits at the reform school
system in no uncertain terms, blaming their
mismanagement on the brutality and cruelty
of the men in charge of them. When the
gang of kids is sent up to the school this
type of warden is in charge. His methods
are compared to the more human treatment
administered by Humphrey Bogart, who
succeeds him and sincerely tries to teach
his charges how to become good citizens.
There's plenty of excitement in "Crime
School," and a brace of good performances
by the kids — Billy Halop, Bobby Jordan,
Huntz Hall, Leo Gorcey, Bernard Punsley
and Gabriel Dell — as well as outstanding
work by Humphrey Bogart and a new-
comer. Gale Page, in the romantic leads.
Directed by Lew Seller. — Warner Brothers.
*"yir Cocoanut Grove
You'll probably gather from the title
that this is a story of the well-known dine-
and-dance room in Los Angeles' Ambas-
sador Hotel. It's a "Band makes good"
tale, with Fred MacMurray as the band
leader whose goal is the Grove, where he
hopes to start himself and his orchestra
on the road to fame.
"Cocoanut Grove" is spotty — entertaining
in some sequences and dull in others — and
adds up to average entertainment. It has
good music and some pleasant performances,
but it has nothing to rank it with the year's
top musicals.
Romance is built around MacMurray and
Harriet Hilliard, tutor for his adopted boy
(Billy Lee). The three of them, with the
rest of the troupe, trek across country in
a trailer, and eventually land at the Grove.
Among the performers are the Yacht Club
Boys, who contribute several of their typi-
cal song numbers, Ben Blue and Eve Ar-
den, who furnish a very funny Russian
dance, Rufe Davis, the rural comic, and
Harry Owens, the band leader and song
writer. MacMurray's performance is up
to his standard, and Miss Hilliard does
well with a pair of songs. Directed by Al
Santell . — Para m o un t.
iti^ Kentucky Moonshine
The raucous Ritzes are at it again — and
this time, happily, with more to do. In a
picture full of insane situations, the brothers
top their own record for lunacy.
The story, while well constructed and
original, is incidental. It concerns the
efforts of the Ritzes, championed by Mar-
jorie Weaver, to get a break in radio. It
also concerns the efforts of a painfully
sincere Tony Martin to win back his popu-
larity with a bored radio audience. Miss
Weaver hears that he is looking for a set
of talented hillbillies from Kentucky. She
herds the friends into a cabin in Kentucky,
and from behind assorted sets of false
whiskers the friends intrigue our Tony,
and are escorted to New York with much
ado about a lot of things.
The picture stars the Ritz Brothers—
and they justify Mr. Zanuck's faith. There
are two particularly clever Ritz sequences :
a take-off on The March of Time and a
satirization of "Snow White and The Seven
Dwarfs." There is an aimless romance be-
tween Marjorie Weaver and Tony Martin.
Miss Weaver is attractive — but extremely
awkward in a silly part, and Tony Martin
has done better things. Directed by David
Butler. — 20th Ccnfurv-Fo.r.
DUAL PERSONAUTY
(Continued from page 9)
in. It's a cozy little place, my suite ! Doesn't
that sound elegant?"
As a matter of fact it didn't sound nearly
as ostentatious as it looked to an outsider —
what with a living room, sun rooiiT and ter-
race high up in one of the swankier hotels.
You see, the Park Avenue Penners are liv-
ing on Fifth ! It was plain to see the Pen-
ners were in the chips. We leveled a stern
gaze on Mrs. P.'s son Joseph and inquired
just why he had been so disloyal as to
abandon his celebrated duck once it had
skyrocketed him to fame and fortune.
"It's like this. You see, I'd used 'wanna
buy a duck,' 'You nasty man,' and 'Don't
ez'cr do that' so long that people were be-
ginning to hate me for it. For instance,
when I played Newark in the dead of winter,
they were lined up for a block. Imagine tak-
ing" your four kids to Jersey on a snowy day
to see Joe Penner when you could be nice
and comfortable at home. I broke records,
but not because the old man wanted to be
there ! Oh no, it was because Junior had to
see Penner.
"One fellow did have four kids in line,
but no sooner did he get them all in one spot
than Junior would run back and forth look-
ing for Penner. When his Dad called him,
all he got was, 'Oh, you nasty man !' At one
and the same moment Junior got a swat in
the pants and Penner lost a fan. Can you
blame that man for waiiting to murder me?
"And so, I was playing to kids and losing
my adult audience. Don't get me wrong, I
like having kid fans, but I like entertaining
grownups too. So, I saw the handwriting on
the wall and knew the duck business would
act like a boomerang. The thing that made
me famous was just the thing that would
kill me if I wasn't careful. Believe me," Joe
continued sadly, "there's enough things to
kill you in this business without lettin' a
quackin' fool do it."
The Beverly Hills Penner was certainly
in a reminiscent mood. Indeed, he seemed
bluer than an Ethel Merman torch song!
"I realize the difference between earning a
salary and getting one !" he continued.
"Somehow, even when you get a thing it's
not always what you think it will be. I know,
because years ago when I was playing tab
shows and carnivals, my greatest ambition
was to meet Adolph Zukor. You know, he's
Hungarian and I'm Hungarian, so I kneiv if
I could only meet hini' — well, something was
bound to happen ! I had my speech all
figured out, 'Mr. Zukor, did you know I was
born in Hungary ?' From then on my future
would be a cinch.
84
MODERN SCREEN
_ "I was tickled when I got an of¥er to do a
picture ^or his company. Even the fact
that they'd only use me for one in order to
cash in on that 'Wanna buy a duck' busi-
ness didn't matter much. Of course they
went through the motions of having options
for two more at enormous salaries. I knew
I was getting a big amount for the first, and
couldn't be worth the increased price for
the next two.
"After the first was released it grossed an
enormous profit. The next thing I knew my
wife and I were guests of Mr. and Mrs.
Zukor, in their home. I was on, even then,
for I knew it was option time and they
wanted me for the second. I liked Mr.
Zukor, not only because he has good judg-
ment and an eighteen hole golf course, but
well, because he's so fair and talks no double
talk. I told him about the way I used to
drearn of rneeting him, but never did I dream
of being his guest. Well, there was a frog
in my throat, and a big black cigar in his
mouth, and he was grand about never men-
tioning business all during our stay.
"I went into his office the following Mon-
day with everything all figured out. I asked
hirn not to say a thing and spoil everything
until I was finished. I knew they wanted to
shave my salary and told him I'd like to
knock off some if they'd put the money into
production. Why, he was that grateful ! So,
we made the second picture, and everybody
was happy. If he was still supervising, I'd
probably be there now, and not here worry-
ing my head off."
WITH the figurative cares of Atlas on
his shoulders, and not a wrinkle on
his boyish face — woe was certainly Joe !
"We talked things over at my present
studio and decided to replace the duck with
a black sheep — anything to counteract the
disfavor my old lines were incurring. The
black sheep never quite got started, but I did
get away from my old stuff.
"My new contract for movies called for
three a year, so with my usual luck I began
by taking a twelve week layoff. They didn't
have a story ready for me ! Finally, I was
going crazy doing nothing. I began beg-
ging for something to do — anything ! They
gave it to me. Spotted me in a picture with
a lot of comedians ! I was lost, but at least
I was busy. I began my new radio series,
and before long they gave me a script.
"I took it home and my wife and I looked
it over and I decided to do it. It was a Class
B, but the director was good and, although
the producer didn't spend as much money as
the big shots, he turned out good entertain-
rnent. We worked for three weeks, and the
picture was in the bag. I took an awful
chance on doing it, because it's something
entirely new. I figured I might just as well
take a long chance as sit around and worry.
Then, too, there's always the Park Avenue
Penners, so what've I got to lose. We went
to a preview of 'Go Chase Yourself,'
on the coast, and I think it's pretty good.
The papers all went to town on the reviews,
so I feel encouraged.
"When I came east, I talked to the office
about getting behind the picture with a little
publicity to make it really big box office.
"Finally I offered to buy an ad myself,
quoting some of the reviews on my picture.
Anything to give it a plug and a chance. I
even offered to do two days personal appear-
ances gratis, if they'd only open it in a good
house on Broadway. They couldn't hear me
for talking about how great number three
was going to be, not this one or the next —
but that stupendous colossal third!"
So here you see Joseph, of the Park Ave-
nue Penners, with a cold in his head, a Mar-
tini in his fist, and his picture playing in a
second run house. With his ticket bought to
go back to the Coast, he can continue to be
miserable amid the flowers and sunshine of
California.
Gene Autry, the singing cow-
boy, and his famous horse,
"Champion," salute youl
Intimate stories about
GENE AUTRY
BETTE DAVIS
JANET GAYNOR
RICHARD GREENE
and many others in
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85
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WHAT'S BECOME OF THE GOOD SCOUT?
{Continued from page 26)
some people call it, scandal. Under the
circumstances then, as Carole herself has
suggested, what would you do?
There is only one answer, if you're a
wise girl : put on the soft pedal. No more
gadding around night clubs, no more even
sitting at the tennis matches with the best
beau beside you, and the flashlights popping
all around. No more being conspicuous,
no more calling attention to the fact that
where you go he goes, too — and no more,
especially no more giving of little white
Fords with little red hearts painted all
over them, red hearts which mean little
enough themselves, but which might be
interpreted as flagging semaphores, with
an "I love you" message. No more of
what was gay and glorious and giddy, at
least not where the Cyclopean eye of the
public can see.
THAT you would have come to the same
decision that Carole did is most certain.
It was the only reasonable and right de-
cision she could come to. Also there is
more than a modicum of good taste to be
perceived in it, too. Regardless of what
unpleasant reverberations her publicized
association with Gable might cause, there
is another little point which only those
who know Carole intimately know that
she has carefully considered. Carole, un-
like many another star in the same situa-
tion, is in no way anxious to flaunt her
catch in the face of other female fishers.
And that Gable is a prize catch, still Mr,
Box Office Number One, and personally one
of the finest fellows who ever flashed across
the Hollywood scene, is something that
no one, anywhere, at any time, will ever
doubt.
For a lot of us it would be kinda hard
to keep it quiet, but Carole has never done
any flaunting or rubbing-in. Her big heart
is too sensitive to other people's feelings
for that, and that includes Mrs. Gable's.
Carole is, in some ways, the greatest Em-
barrasser of all — though that not-so-
dummy Charlie McCarthy is running her
a close second these days — but that's only
when it comes to gags and pranks, and
then the redder the other person's face is,
the more shrill and delighted her laughter.
When hearts or sentimental feelings are
concerned, that is another matter. Carole
treads on toes, and cripples funny-bones,
but hearts never.
But this sudden hauling in, this sudden
desertion of Hollywood's fun lanes, when
Carole used to so obviously enjoy inter-
views, antics and fashion parading, and
every hilarious hullabaloo connected with
her fame — hasn't that cramped her style,
put a dent in her life? That's the next
question that anyone asks, and the answer
for that one, too, is Mr. Gable, the other
forty per cent of the influence that he
has brought to bear on her personality, the
direct influence that his particular likes
and dislikes have had on her. For ex-
ample, Miss Carole Lombard, recently of
the Salon, has become one of Hollywood's
most ardent and most expert devotees of
that hitherto masculine art, skeet shooting.
When the "True Confession" troupe went
to Lake Arrowhead on location not so
many months ago, Carole said "Goody !"
or something to that effect, "we'll set up
a shooting range, I'll take along my trusty
little shotgun, and we'll pop off a few clay
pigeons, eh what?" The boys she said it
to happened to be Claude Binyon, script
writer, and Fred MacMurray, struggling
hero of said script, and, as it happened,
she was saying it to two of the best skeet
shooters in town, as they not modestly
informed her themselves.
From then on the only ones who did
any talking about the coming recreational
event were Binyon and MacMurray, and
when they mentioned Carole as a par-
ticipator, it was always, "Oh yes, Carole's
going to try, too." They were, and they
were later to rue it, just too, too patron-
izing. It was their surmisal that Carole
went in for the sport just for the excite-
ment of hearing the gun go off. That she
would do anything but wave her gun at
the blue sky, and wonder afterwards why
she hadn't hit anything — that never, for a
moment, occurred to them. Movie actress
goes in for skeet shooting, ha, ha ! Well,
they can be excused for their attitude, be-
cause it's safe to say that most anyone,
even you and I, would have felt the same.
But came the dawn, and we mean really
the dawn. They had tried several times
to get to the shooting range, after picture
shooting, but the day and the light was
always too far gone by then, so Carole,
with her usual exuberance said, "All right,
boys, tomorrow morning. I'll have my
maid phone you at five, and we'll try it
then. And you be here, too !" noting the
already sleepy look in their eyes.
So there she was, fresher and brighter
than anyone has a right to look at that
hour of the morning, and there they were,
straggling out, trying to look happy.
There too were a couple of policemen from
Arrowhead, who, hearing reports, had
come over to see what all the shooting
was about.
They soon saw. There was Binyon and
MacMurray, hemming and hawing, and
trying to make excuses, and Carole, cop-
ping all honors, one right after another.
"Deadeye Dick herself," one of the police-
men marveled, openly and loudly. This
same policeman, whose astounding name
is Mickey Finn, finding a new shrine at
which to worship, afterwards spent an
hour every morning shooting with Carole
(Binyon and MacMurray had given up
after the first day). "Say," said Mickey
once, unable to contain his admiration any
longer, "you sure have had a good teacher !"
"I'll tell him that," Carole answered.
"He'll get a kick out of it, coming from
you." And no doubt Gable did.
THERE are other things, too, which have
taken the place of night clubs, soirees,
and gala Hollywood events. Clark always
did prefer horses to hors d'oeuvres, and
farming to flattery, and these are two things
to which he has won Carole whole heart-
edly. There's that ranch of his out Valley
way, where they ride and hunt, and where
the conversation has nothing to do with
parts, parties, or personalities, but which
is singularly full of such words as crops,
fertilizer, alfalfa and gophers._
It's a place where "swing" is something
that applies only to the way you hurl an
axe at wood, not something that sends you
cavorting over a dance floor. It's a place
where clothes are worn with an eye to
their resistance against saddle leather, and
not for what they might do toward creating
new fashions. It's a place where other
Valley farmers come and go, not to get
a look at that "moom pitcher fella," but to
find out how in the divi! he's going to
turn that clover patch into something
profitable, because he's got good ideas,
that one, and the ideas he's got maybe
they can use sometime, too. Sundays
Clark and Carole usually return the calls.
Up and down, back and' forth, the length
86
MODERN SCREEN
and breadth of the valley, they make the
rounds. "Boy, has Mrs. Ellsworth got
some chickens ! Clark, did you see those
cute little Japanese bantams? Why can't
you get some of those?"
Now, Carole's going into ecstasies over
chickens is something that some people
don't like, and in a way we don't blame
them. Carole was much too much of an
ecstasy incarnate in the old days for us
to get used to her new farm-and-fowl
fancies of today. Right now I'm looking
at a picture of Carole at her most Caro-
luscious best, wearing a satin dinner frock,
a white fox clinging to her shoulders, and
in her eyes, and in the lines of her whole
body, that one indefinable something which
we, for lack of a better word, call glamor.
She had it once, but where is it now?
When Carole used to make her twice-a-
month appearance at the studio portrait
gallery, the photographers always knocked
off pictures of her like that, one after
another. But they don't even get her in
there anymore. (True, the studio did get
her in for some very romantic ones with
Gravet while she was making "Fools for
Scandal," but that was a special gesture
on her part, and one not likely to be re-
peated soon.)
NO, she's a catch-as-catch-can subject
for the publicity cameras these days,
and that, of course, means that only the
candid cameras catch her — with entirely
different results. Carole making faces,
Carole with her mouth wide open, screech-
ing at the top of her lungs. Carole shak-
ing her finger at a director, Carole biting
her tongue. Carole sprawled on the floor,
shapely legs twisted under, playing
mumblety-peg with a prop boy. Carole in
overalls, rumpled riding trousers, and cot-
ton house frocks. They snap these pic-
tures of her, and then take them to her
for an okay. Instead of being alarmed, in-
stead of shouting that she'll sue if those
get into print, she does just the opposite.
A new candid cameraman recently took
her such a batch to okay, and, in fear and
trembling, backed twenty paces away while
she looked them over. Then he heard her
shout, saw her throw her arms about.
That settled it. He beat it back to the
safe ground of the publicity department.
A few minutes later the phone rang. It
was Miss Lombard.
"Yes?" said the new young man,
trembling.
"Marvelous ! Marvelous ! Got any
more ?"
How could he have known that she was
just shouting for joy, that the waving
arms were meant only to call everyone
around so they could enjoy a laugh, too?
"Look, gang, don't I look aw-ivdl Isn't
it it'OM-derful !''
Nowadays, it's the publicity department
which has to say, "But don't you think,
Miss Lombard, don't you think that this
is a little too — well, candid, shall we say?"
Candid ! Why it's the very stuff she's
made of. Painfully frank all her life,
conscientiously brutal, especially where she
herself is concerned, it's only natural that
unflattering candid shots receive no taboo
from her, though they may be the vain-
bane existence to others.
But there is still another reason for this
sudden letdown where beauty, posing and
fashions are concerned, and that brings us
to the other twenty per cent of the cause
of it all. It is Carole's own personal rea-
son, which, though last, is not least, and
deserves some consideration. She has
been in this business about a decade now,
deep in it, and all this time she has been
just about all that anyone could ask of
her.
When it was important for her career,
Carole let herself be a clotheshorse. She
introduced countless screwy fashions, and
got away with them. When it was im-
portant, she let them line up the inter-
viewers, and she gave story after story,
and no writer ever went away unsatisfied.
When it was all part of the game, she went
to parties and gave parties — skating
parties, hospital parties, jungle parties, and
so on — the kind that got talked about, not
only from mouth to mouth, but paper to
paper, magazine to magazine. Her parties
were like a trademark. She was known for
them, as Elsa Maxwell is known for hers.
THEN came the gag-gift era, Carole
sending people white elephants, whole
hot houses, museum relics, and what not.
All this took time and money and energy,
because these weren't things that other
people thought up for her, and mapped
out like a blue print. They were Carole's
own ideas, carried along on the strong-
wave of her own spontaneity. She put
everything she had into it, and got a lot
of fun out of it, too. But after so many
years of putting in like that there is the
inevitable result — ^you're bound to grow
tired. You're bound to find that it has
demanded high taxes, and that's what
Carole has discovered. She just finally
got fed up with it, and having reached a
point in her career where she doesn't have
to play those parlor games any more, she
has just plainly side-stepped them for other
more vital and interesting things.
Her career today stands on its own.
There is no longer any life cord between
it and her personal doings, so at last
Carole can afford to let down on the latter.
What it amounts to is almost a relaxation
from relaxation, because Carole once
worked harder at entertainment than any-
one can realize. Now she deserves a
change, and it's only a meanie who would
begrudge it to her.
Let's not be meanies then about the
turn the Carole tide has taken. The good
scout is still there, only there are no
microphones to broadcast it. She still sees
her friends, says hello to the press boys,
even has her small parties, but it's all be-
hind scenes. Not so long ago a camera-
man at the studio happened to say that
he was getting hold of the uncensored
newsreel of one of the Shanghai bombings,
and was going to look at it in the projec-
tion _ room. "What?" shouted Carole.
"Wait for me. I want to see it, too ! Only
I have to make some phone calls first."
Twenty minutes later Clark Gable drove
in through the gate in that station wagon
of his which proudly wears a plate marked
"Press." With him were several of his
cronies, Fieldsie, and others of Carole's
friends. Carole, with the Good Humor man
at her side, met them at the door of the
projection room. "Come on, gang, hurry
up ! In here !" and she handed each of
them a chocolate covered ice cream stick
as they filed by. That's Carole's idea of
a party now, 1938 style. Nothing planned
in advance, no invitations sent out, only a
hurry-up "bring along whomever you can
get, and get here quick."
What? No fancy dress costumes, no ice
skating rink to be rented at an exorbitant
expense? What's there about it, then, for
the wire release, to be dot-dashed across
the country to a hundred different news-
papers? Nothing. Simply nothing, and
that's as Carole wants it to be.
So let's let her have it her way. She's
given us fun and excitement enough so
that we have no right to be greedy and
ask for still more. Besides, it isn't as
though she had retired completely, as she
once threatened to do. The screen may
be up as far as her private doings are con-
cerned, but there is still, and thank good-
ness, another screen across which she
prances in full view — the hearty, hilarious,
happy-go-lucky Lombard of Celluloid !
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BECAUSE SHE LOVED HIM SO MUCH
{Continued from page 33)
needed inspiration and encouragement.
The miracle to Spencer is that at one
time it was she who was the star and he
the beginner. "Yes," as he will tell you
today, gruffly, because he is always gruff
when he is trying to hide a too-sentimental
emotion, "she was the one who had the
head start on me when it came to acting.
Yet she gave it all up, for rtie. I rnet her
in a stock company in White Plains. I
was the bit player, making twenty dollars
a week, and she was the leading lady. She
had been in one play in New York, and
thought she had a chance at another one,
coming up in the Fall. But from the minute
we were married that was never again
mentioned. She said ours wasn't going to
be just another stage marriage, just a mar-
riage of convenience like a lot of actors
and actresses go in for. We would go on
working in stock together until we had
enough money so she could quit, and from
then on we were to be a family, with me
at the head of it, and whatever my fortune
was, that was to be hers too.
"Gee, what a poor fortune it sometimes
was," mused Spencer, "but she never was
sorry, never seemed to care, always stuck
to her ideal. We worked together only
about a year after our marriage, first in
Pittsburgh, later in Winnipeg, and then
Louise found out that Johnny was on the
way. She left the stage then, and has
never been back. Poor darling, Louise had
thought she would stay on until we had
money. Only Johnny didn't wait for the
money, but that didn't seem to make any
difference to her."
It was in Winnipeg that Louise rnade
that first courageous decision of their lives.
They were practically stranded. They had
been working on a percentage basis, but
they hadn't been paid off at the end, and
they had only a few dollars, with no ^pros-
pects for the future, except Johnny. "Now
you know, and everyone does," Spencer
said, "how a woman likes to have her hus-
band with her when her first baby is born,
but Louise's courage surmounted even that.
The only thing to do, she said, was for me
to go back to New York to hunt for work,
and she'd go to Milwaukee to my family,
and have the baby there. And that's the
way it was." Spencer paused for a mo-
ment, his rugged mug-face showing its
great, simple L'ish appeal. "Now you can
see, can't you, why I can't take full credit
for anything I've done? It was her courage
and decision that helped me to win."
IT WAS like that, Spencer went on, all
down the line. Eventually they were to-
gether again in New York, living in a
little rented walk-up, scarcely more than
"light housekeeping rooms," and Spencer
got jobs now and then, off and on, but pay
days were so few and far between that they
could pay grocery bills and that was about
"I'd see her trying to avoid looking in
the shop windows when we'd take walks
sometimes. She'd never stop and say, 'Oh,
if I could only have a dress or furs like
that! I just don't have a thing to wear!'
like a lot of women would have. She never
seemed to see all those beautiful things that
you just ached to buy. It was hard, too,
living in the city, with no car, and no
chance to get away for some fresh air.
"And there were, oh, so many little
things to contend with, like, for instance, no
icebox in the apartment. We had to rig
up a little one of our own, and it was an
awful nuisance, keeping it lined with dry
newspapers all the time. It would have
been so much easier if we'd had even the
handy, simple things that we needed. But
we never seemed to have anything, nothing
except Louise's optimism, and came a time
when I couldn't see that even that helped
any more.
"That was the time when I decided to
drive a bus for the Fifth Avenue Coach
Company. For four weeks I had been re-
hearsing in a play that didn't even open,
and I didn't even get my Equity pay, and
when I had this bus job offered me through
a friend, I grabbed it at once. But needless
to say I never turned a wheel. I guess
maybe we argued about that for three days
and nights. I brought up all the arguments
I could think of, even brought out my press
clippings, one in which a critic writing
about the Ethel Barrymore play, 'Royal
Fandango,' had said, 'This chap Tracy looks
like something the prop man picked up.'
I KEPT telling her that there was no
future for me with my peculiar type of
beauty. They wanted dandies on the stage,
not mugs. But she said my looks didn't
make any difference ! She begged me.
She'd rather go without furs and fancies,
and even ice boxes, just to have me what
she thought I ought to be. And of course
in the end she had her way. I did go_ on,
and I did get breaks. Three years in a
row in Cohan shows, and then finally Killer
Mears in 'The Last Mile.'
"Louise had switched all the ambition
and energy she once had for her own
career, over to my side, and when my own
ambition gave out, there was always hers,
in reserve, to push me on. She even pushed
me into things that I was sure were going
to be flops, but they eventually turned into
successes, just as she said they would. I'm
always kicking and balking, still do today.
That's why she calls me 'The Donkey'
sometimes. But it's funny how she has a
nose for what's right — why Louise can just
sense a success a mile away I"
It's true. It would be impossible to over-
estimate the value of Louise's own sense
of values in this important connection.
There are a lot of women in this town who
think they know all there is to know about
their husband's business, and who try to
run it, often with dire results. But Louise,
due to the diligence and the heart she has
put into it for fourteen years, and because
of her own early experience, is really a
very wise judge of acting material. When
a certain part is suggested to Spencer, and
the script is handed to him, he sticks it
in his pocket, takes it home unopened, so
that Louise can be the first to lay eyes on
it. She takes it into her room, and settles
down to it, while he perhaps settles down
to his horses out back.
Out on that ranch where they live there
is an amusing and interesting "dividing
line." Louise loves her garden and her
flowers, Spence dotes on horses and dogs,
so there must be some provision made to
keep the latter from ever-running the
former. That's where the dividing line
comes in. It's an imaginary one, but_ it's
there just the same, and Spence has trained
his animals (including twelve Irish setters),
not to take one step over the boundary
between front and back. So, also, Louise
has trained her trailing arbutus that it
doesn't over-trail its bounds, either! In
the house, in their own compartment, there
is also a dividing line. On one side there
are closets and space for all of Spence's
hunting and fishing clothes, and his other
he-man paraphernalia. And on Louise's
side, there's a special space for lavender-
scented femininity. So it's to her side, in
peace and quiet, that she retires to read
MODERN SCREEN
over Spencer's prospective script.
At the dinner table Spence, with search-
ing eyes, reads on her face the verdict.
Quite often when she says, "I think it's
fine, it will make a good picture," he lets
it go at that, and there is no further dis-
cussion. But, as he has already intimated,
there are also occasional balkings. Two
of the parts he fought against during the
last few years were the two which were
eventually to bring him his greatest picture
fa_me._ First there was the role of Father
Tim in "San Francisco." Being Catholic
himself he had a certain complex about
enacting the character of a priest. He felt
himself unworthy of it. It has been said
that Van Dyke, the director, talked him
into it, but the talking that he did came
after days of persuasion on Louise's part.
The battle was half won when Van Dyke
got to him.
A GAIN, in connection with "Captains
■* Courageous," Spencer felt that he was
not equipped to do Portuguese dialect. We
remember talking to him at the time, and
he said lightly, in an effort to laugh at his
discouragement, "Why, they'll have to have
a foreward to the darn thing, saying that
this particular Portuguese fisherman was
born in the north of Ireland!" That was
his complex on that, which Mrs. Tracy had
to help him overcome.
If you are at all familiar with movie
complexes, then perhaps you already real-
ize how exceptional these are. Most dinner
table conversations between actor and
actor's wife have quite a different flavor
• to them. The actor is invariably complain-
ing that "the part just isn't up to me!"
And probably, in Spencer's early movie
days, he felt the same himself. That was
when he was in mediocre pictures, and
mediocre parts were the usual thing with
him.
But even way back then, Louise knew
that this kind of an attitude would eventual-
ly have a deadly effect. An actor who goes
through life thinking that way is doomed.
So she used to say, "Never mind whether
the part is good enough for you. Are you
good enough for the part?" That, more
than anything, as Spencer admits today,
made an actor of him. It gave him an
incentive to try, and try hard, at any part
that came along. Today perhaps he has
gone to the other extreme in always feeling
that the task is bigger than he is, but of
the two extremes this is by far the better.
It allows him to approach everything with
a bit of fear and trembling, a sense of awe.
Pat O'Brien and Bill Powell at the
Inglewood races check up on the
tips they got from Clem McCarthy,
famous sports announcer. It's good
to see Bill around again after his
recent serious illness.
This is the feeling that inspires a per-
formance.
In the other, more personal ways that
Louise has helped him there is a story
that no one can really write, because it is
so much their own personal story. But
perhaps just to mention it will suffice to
show how the love of one woman brought
a man to happiness, as well as an actor to
his goal. A number of years ago, for some
unfortunate reason, Spence attracted to
himself the title of "Hollywood's Bad Boy."
At that time, the marriage did go awry.
The Tracy's separated. Divorce rumors
spread.
But far worse, and more fearful than
that, Spence seemed to suddenly grow in-
different about his career. He played polo
recklessly, paid little attention to his health,
or to picture shooting schedules either, and
Hollywood began to think of him as ir-
responsible. No one knows the courage
and the calm, and the understanding with
which Mrs. Tracy again set herself down
alone at her table, with tha^ empty chair
at the head of it. The patience with which
she waited. And then finally, after many
months, the return of love with which she
was rewarded.
That last part, at least, is obvious. The
bad boy became a new man after that, and
as everyone had talked about the first
change, the return to the old Spencer was
just as widely heralded. Mrs. Tracy could
have turned into a shrew during that time,
into a bitter disillusioned woman. Or worse,
she could have emerged as a martyr. But
she stayed herself, the same loving, adoring
helpmate that she had alwfiys been, still
confident in him, still proud of him. It
was that which opened his eyes in the end,
and made him suddenly reach for the very
thing he had come so close to throwing away.
PERHAPS the whole thing may be more
easily understood when you know the
awful sorrow that touched the Tracys' lives
almost thirteen years ago. It was when the
Johnny of whom Spencer speaks so ador-
mgly, so glowingly, was born deaf. Al-
though his condition has greatly improved,
and today he is learning to talk,
It's a tragedy that plays constantly on
Spencer's mmd. When you understand
that, it's easy to understand how a man
can go berserk now and then, break loose,
try to forget. Only Spencer found that to
escape was the misery, and that coming
back was a greater release and a greater
happiness than he had ever thought.
_ It has been a new kind of life and a new
kind of success, ever since that return
to the hearthside a few years ago. It was
then that they moved to the ranch, then that
Mrs. Tracy took up polo so she might
share one of his many interests (and is
today considered one of the country's finest
woman polo players, as a result). It was
then that she urged him to buy a boat, his
first, and in that way to find some outlet
for his^ restlessness and his depressions.
Her job is not an easy one, as jobs go. A
lot of people think what a cinch it must be
to be the wife of a movie star, but the story
of Louise Tracy seems to prove otherwise.
Yet in a way it is easy for her, because
her love is so great. Hers, too, is that
wonderful rare quality of minimizing her-
self and making her desires his, of adjust-
ing herself to his needs. Without these
qualities, these gifts, she might never have
been able to do what she has done.
Yet her rewards are worth it. There is
his love, above all. Here is one case in
which reflected glory is not an idle, empty,
false glow, but a glory which has, in its
reflection, an equal amount of sharing. Not
only did all Hollywood know that it was
luting that Louise Tracy should accept the
Academy Trophy for her husband, but the
honor to her was that Spencer knew it too,
and told her so ! • '
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{Continued from page 37)
amusing outcome, and such an incident
happened not so long ago when he was
on location. John was staying at a hotel
near the company's camp, and one morn-
ing he went into the hotel's barber shop
to get a shave. John told the barber to
put it on his bill, and the barber asked
what name.
"Barrymore," John said, already a little
annoyed that he hadn't been recognized.
The barber never batted an eyelash. "And
the initials, sir?" he asked.
At this Barrymore exploded. He strode
to the door, turned aroUnd and shouted a
name. It was not an uncouth one, just
the name of his sister. "Ethel!" he bel-
lowed. To make it worse, the barber an-
swered, "Thank you, sir," and wrote on
the check, "Mf. Ethel Barrymore.'''
The point lies not so much in the story,
but in the fact that John told it around
afterwards, and thought it a great joke on
himself, that here was some delightfully
naive somebody who had never heard of
him — or of any of the Barrymores. "Great,
isn't it?" he kept saying, and we had to
admit that it was, only not in the way he
meant. It was great to know that the
new John has still kept his old sense of
humor.
ONE thing always leads to another about
John, arid' speaking of that particular
shave reminds us that in the respect of his
grooming, or, shall we say lack of it, he is
still quite the same John. He just doesn't
give an ejaculation about it! Elaine man-
ages to get him into a clean shirt, now and
then, for a preview or some function like
that, but, when left to himself, he goes
on and on in the same clothes every day,
and, except for a director's pleadings, it
is safe to assume that he would never
shave.
It's also a well-known story around
town that John always goes home with
his grease paint on, and some keen-eyed
experts have avowed that it's the same
make-up which he wears in again the next
morning. John himself gives credence to
the fact by announcing that he has dis-
covered a certain electric razor which will
shave without removing his make-up !
"I owe that discovery to my good friend
Reginald Denny," he admitted. "Reggie
came on the set one day and demonstrated
how it could be done. I don't think he
was selling the razors. It couldn't have
been that — he just knew that I'd be inter-
ested. Why, I have never before been so
impressed by the marvels of electricity ! I
Avas flabbergasted. In a word, I was con-
vinced. And what the razor cost I can now
save on grease paint !"
When you see him as he is today, with
his once famous profile now changed some-
what because of the increasing chin of
middle age, you can't help wondering if
he is at all sensitive about the loss of his
once so-handsome looks. But even as you
broach the question you feel absurd, for
the expression on his face is entirely a
scoffing one. It tells you. and plainly, that
he never was vain, not even in the Don
Juan days, and, suddenly remembering
stories, you know that it is so. "Didn't
you ever hear," he asked quietly, "of that
time a man was ejected from a theatre
in New York for booing John Barrymore?"
And briefly, this was the story.
It was at the opening of one of the
early Barrymore pictures. John himself had
made a personal appearance on the stage
first, just to send the thing oft' to a good
start. Later, when the picture began to
unroll on the screen, every time Barry-
more appeared in a scene a man from the
back row of the theatre emitted unmis-
takable jeers, the kind of jeers which
since have become known as raspberries.
This went on, even after the usher and
numerous "sh's" from the audience had
urged him to stop, and eventually the
jeerer was ejected bodily from the theatre.
Some crank, they thought, envious of the
screen's great idol. "But it was I," John
revealed in winding up the story. "And
it wasn't envy. I meant every juicy
syllable of those blah's. I hated me, es-
pecially when I was all dollied up."
PERHAPS that accounts for his recent
contentment with the new kind of old-
scapegrace roles that he has been play-
ing. There was the wrinkled white suit
in which he strutted through "True Con-
fession," all but stealing the picture out
from under the nose of Miss Lombard, so
that even her tongue in her cheek didn't
quite outbalance the Barrymore prowess.
And there is his current role of a sloppy
newspaperman in "Spawn of the North,"
which he is making with George Raft and
Dorothy Lamour. In this he wears a coat
too short for him, and the seat of his
trousers all but skirts his knees, yet John
in such an outfit, and playing such a part,
looks completely happy and at home.
He likes these parts because they are
homey down to earth parts, and because,
being at heart lazy, he can literally amble
through them. He does nothing, makes no
move, which isn't vitally necessary. We
saw them making one scene where John
and George Raft were at a bar. Before
them were glasses, filled with dark sweet-
ened water. George sipped his during the
dialogue. John let his stand. Director
Henry Hathaway filmed the scene several
times, each time letting it run long, hoping
that John would relent and take a drink
from the glass. But John was on to him.
After the last take John said mildly, and
triumphantly, "You thought you'd make
me drink the slop, didn't you?" Maybe John
has developed an antipathy for liquid of any
sort. Or, maybe, he's just lazy.
But lazy or not, it's true that he does
have a keener, more steadied interest in
his work than ever before, and for this he
gives Elaine Barrymore credit. "She's the
only woman I've ever known," he said
calmly, "who knows the combination to
keep me interested, to keep me going, and
that's all there is to it." And after you
know Elaine you understand why.
It's rather an amazing thing about
Elaine, the change in the attitude about
her that has taken place around the studio.
No woman ever came to Hollywood with
a greater prejudice to batter down. People,
before meeting her, had their minds made
up that she was a scheming idol-chaser,
and they were prepared to give her the
cold shoulder.
But nowadays — and every one is slightly
abashed about it— the shoulder is no
longer even cool, and she has numerous
staunch admirers, especially at the studio.
Even the unbelievers have finally come to
see that she has managed John Barrymore,
and won his complete love, as none of his
other three wives had even succeeded in
doing. The only way it can be explained
is that the girl has character, and she also
has graciousness.
Elaine has the character that demands
steadiness of John, and she has the gra-
ciousness to persuade him to achieve it.
Her manner is never bossy, never ostenta-
MODERN SCREEN
tious. There is no discord when they are
together, as there sometimes is with Barry-
more alone, when he is often impatient with
delays, easily irritated by too many sug-
gestions. You know, innately, that she
is managing him, but on the surface you
are never conscious of it. You can find
no definite examples of "how."
It has been discovered that Mrs. Barry-
more is always more easily reached than
John, so now it's to her that most every-
one goes with business matters which in-
volve him. Not only because it saves time
and trouble, but because it's a . pleasure.
As one male member of the publicity de-
partment put it, "It's just a small thing,
but she has one of the most charming
voices on the phone that I've ever heard.
And. because I like her voice, I like her."
It's true, sometimes you can tell as much
about a person on the telephone as you
can after several meetings. And Mrs.
Barrymore has won numerous friends that
way.
Speaking of telephone calls, it's appar-
ent that Mr. Barrymore phones Elaine
many times during the day. Nobody else
may know where he is, but she always
does. After trying to locate John on his
set and in the dressing room one day, the
script department called his home. Mrs.
Barrymore said he wasn't there, but that
he was in projection room B, and that at
a quarter of twelve he would be back in
his dressing room. At a quarter of twelve
the script department, being curious, called
the dressing room. John was breathless.
The phone had been ringing just as he put
his key in the door and he had hurried to
answer it. The past Mrs. Barrymores lost
track of John sometimes for days at a
time. The present Mrs. Barrymore seems
to know where he is at intervals of every
thirty minutes.
OUT Elaine is the only one who can
•LI be sure of him. As far as others are
concerned he still has his erratic moments,
and most of these may be accredited (dis-
credited is perhaps the better word) to
that peculiar freakish memory of his. He
can remember what happened exactly six-
teen years ago, come Fourth of July, when
he turned handsprings down the main hall-
way in Buckingham Palace, or something
equally fantastic, but walk up to him and
ask him about that little matter you spoke
to him about yesterday, and he is quite
likely to be completely baffled. Very likely
he'll go into his dignity act, too. "Come,
come, be specific," he may say — and in
such a tone ! — so that you flush and flut-
ter, and wonder what it was you ever
liked about the guy anyway.
John Barrymore has been
getting grand reviews on all
of his recent pictures. Here
he is with the dark-eyed
song-bird Gladys Swarthout.
But happily these are only moments, and
they pass quickly, and the next time you
see him he has failed to remember them
too, and so in the end you get along quite
famously. He is telling you about that
new boat he is shopping around for to re-
place the most recent, very expensive one
which he has sold. "It's going to be a
much smaller one, this time," he says.
"Just a little thing to roam about in," and
he is so anxious to let you know that he's
no longer going in for showy things, that
bye and bye he has you believing that what
he really wants is a plain ordinary scow.
And you do believe him because, judg-
ing from the rattling old Ford in which
he always arrives at the studio, his tastes
have indeed changed. The Barrymores
also have a Packard phaeton, but that is
reserved for "public appearances."
IN spite of his talk about contracted ex-
penditures, in his speech you find the same
Barrymore profanity as of old. The kind
of profanity which is strictly Barrymore,
and highly excusable inasmuch as it is
amusing, the kind of profanity which only
a delightful rogue such as he is, could ever
get away with. It makes him a joy to the
crew workers on the set, who never swear
at him, but .would love to swear with him,
if they thought they could compete. In-
cidentally he is always good for at least
one round of beer and cokes every day,
and that also adds to his popularity. Then,
too_, they have to admire his strength,
which, in spite of the punishment he has
given himself in past years, is still some-
thing to be marveled at.
Recently he had ptomaine poisoning, and
had to be sent to the hospital. They
scheduled him for the usual time that it
takes serious cases to recover, but John
was out 'way ahead of time, said he could
recuperate much better while working, and
that's just what he did. He's quick on
recovery, like he is on answers. To the
boys around the place he's some kind of
a bold, bad, beloved god. They wouldn't
like him if he were reformed too much,
and neither would you. Reform, like
everything else, in moderation, please, and
John has achieved it that way.
A happy medium has been exactly what
it took to put John back on the Holly-
wood map. It's been quite a road, and he
went down it for a long way. When he
left the studio a year or so ago he was
out, everyone said, out of all pictures, for
all time. Then he started free-lancing.
Free lancing at $6000. a week doesn't sound
like much of a comedown, but it was a
comedown when you think of the parts he
had to play.
One studio used him for admittedly B
pictures. Then Carole Lombard suggested
him for "True Confession," and he came
out of his decline (or his B-cline, to be
more exact) and ever since the A pictures
on his schedule have been piling up terrifi-
cally. He was signed On a long-term
contract, then his old studio hired him
for "Marie Antoinette" — for which they
paid a pretty pile of pennies — and John
went back with every right to feel like
the cock of the walk, but never once crow-
ing about it. Next he'll do the "Gracie
Allen Murder Mystery," then a co-starring
one with W. C. Fields, and later, "Four
Leaf Clover."
John found his four leaf clover all right,
and her name is spelled in six letters, but
contrary_ to all reports, he didn't let it
throw him. It changed him for the best
in many ways, but he still has, and thank
goodness, the manners of Hamlet, the mad-
ness of Mercutio, and he's still somewhat
of a baddie. From Hollywood's bad boy
to good boy— to be or not to be — that,
in John's quixotic mind, is still a much-
mooted question.
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I WANT MY MONEY
(Continued from page 53)
of his own during this period.
It is difficult to reprint the exact figures
on my earnings. I can safely say, how-
ever, that after "The Kid" my value to the
movies was universally conceded to be
$4000. a week. For personal appearances
I received more — $5000. from the London
Palladium, for instance. I was getting
five dollars every seven days for myself
then! A writer in the London Daily Mir-
ror commented at the time, "What becomes
of the other $4995. I don't know." He was
voicing my own thoughts — ten years ahead.
Then George Bernard Shaw, whom I
met while over there, told me, "In your
short career you've made more money than
I have in my seventy-two years of credit-
able service to the stage." But Mr. Shaw
was never a child playwright !
I tell all this to show you how the money
rolled in. Too much for a punk kid my
age? Maybe. But I earned it. It was
mine. After all, I had paid a heavy price
for it, the price of a normal childhood.
Other youngsters are making big money
today, right here in the same Hollywood.
It is because I feel that my story may just
possibly be of some help to them — because
there is a crying need for change in the
"child labor" laws of California — that I
tell it now.
Naturally, in the beginning, I dreaded
going to court, dreaded making my personal
problems public. But now I have a wife
and home of my own. I must pi otect my
interests — and theirs.
I never had any real fun while I was
a kid, in the sense that other boys do. For
me there were no hours of play after school
— almost no school, in the ordinary mean-
ing— no letting-down-my-hair as we know
it today, until I went to college. Athletics
were taboo. I might mar my pretty face
or, worse yet, "hold up production." My
idea of a big time was to visit my aunt and
uncle. They let me put on overalls and go
out and play with some of the neighborhood
kids. Boy, was that a treat!
THE first time I ever roller-skated was
with Betty Grable, soon after I started
going with her. The closest I ever came to
rolling a hoop was when the studio made
some publicity stills of Betty "at play," and
I sneaked one for a little private experi-
menting. I had sailed on many yachts and
big ships, but the first time I was ever
allowed to roam a deck unmolested was
at the harbor recently, when a bunch of
us went down to Preston Foster's boat.
It wasn't anybody's fault, really. Even
if my parents — and my employers — had
been willing to let me "relax" after the
day's grind, the endless demands made on
a "celebrity" would have queered that. In-
terviews— music, dancing and riding les-
sons— personal appearances — portrait sit-
tings— -all the hundred-and-one require-
ments of publicity and exploitation kept
me busy long after the cameras had
stopped rolling. It was all part of "being
famous," the continuous manufacture of
"glamor."
What of 1938's juvenile stars? They
are taking the same kind of "punishment."
They can't escape it. If their futures were
left solely to the laws of the State, they
might easily wind up behind the eight-ball,
as I did. But I imderstand most of the
fathers and mothers of today are exhibiting
more generosity — or at least greater fore-
sight—in providing for their children's to-
morrows.
I say this not from a newly-found optim-
ism or because I feel it is the tactful thing
to do, but as a result of numerous in-
quiries directed toward the present status
of the child stars of Hollywood.
Shirley Temple probably draws higher
wages than any other youngster. That's
only fair. Shirley is, after all, the number
one box-office attraction. But kids don't
derive all their income from the screea
alone. Radio and commercial tie-ups mean
a lot more to their bank accounts than
they did when I was a star. It would be
impossible for me to estimate Shirley's
total earnings, but I'm told they're around
$500,000. per year.
Shirley's money is said to be invested
three ways : in paid-up annuities, govern-
ment bonds, and guaranteed trust funds in
several banks. It is all in her name, and
Mr. and Mrs. George Temple have ab-
solutely no access to it. The investments
will not all mature at the same time — that
is, when Shirley reaches twenty-one — but
will be paid to her at ten-year intervals.
That's what I call good sense.
TANE WITHERS, who is now twelve
»-» and has been working five years, also
shouki have a considerable amount stored
away. Every week, I hear, her parents
deposit $1000. to her credit in 'a trust fund.
The rest goes into Jane's regular account.
She has to sign every check that is written,
for her parents believe firmly in impressing
her with the value of dollars and cents.
Bobby Breen's income stems from five
sources : motion pictures, radio, commer-
cial tie-ups, personal appearances, and re-
cordings. His money is placed in- a trust
fund controlled by the family. Bobby gets
sixty cents a week for spending — which
made me, I suppose, a bloated plutocrat by
comparison, and my weekly six twenty-five
a tidy fortune !
Like Bobby, Deanna Durbin has a five-
way income. It is supposed to add up to
$100,000. a year. . Deanna is fifteen, and
has been performing two and a half years.
A trust fund has been established for her,
payable when she attains her majority.
From all this, it would seem that today's
youthful favorites have comparatively
smooth sailing ahead. No thanks, however,
to existing laws ! The parents of those
kids are simply doing the decent thing.
My attorneys tell me that the particular
California law to which I have reference
was handed down in England more than
one hundred yaars ago. It stipulates that
all the earnings of a minor child belong-
to his parents, and in just so many words.
This is the code which impelled my mother
and stepfather to act as they did. Yet
in the period for which it was written, a
child's earnings were probabl)^ mere pit-
tances, a few pennies for chasing errands,
herding sheep to pasture, snaring rabbits,
catching and peddling fish, and the like.
Naturally the real burden of feeding, hous-
ing and clothing such a child had to be
borne by the parents !
It was borne by my parents, too. Be-
sides my $6.25 allowance, they provided
food, clothing, transportation, a place to
live, a college education, and an eight hun-
dred dollar automobile when I was old
enough to drive one. Otherwise, during
all these years, I received $1500. in gifts,
fifty dollars at a time, on birthdays and at
Christmases, and $1000. on the day before
I became twenty-one.
But what had I done for them? My
father and mother were on the vaudeville
stage. After I rose to fame in "The Kid,"
my mother quit work and my father became
a production manager. They were en-
92
MODERN SCREEN
abled to bask in luxurious surroundings,
employ numerous servants, drive expensive
cars, in short, to live off the fat of the
land.
Dad always intended that I should share
in all this. If he had lived I'd have had
no fears for the future. I know, in my
own mind, that he at least was sincere
when both he and Mother went before the
court in July, 1922, and requested that
guardianship papers be issued to her, "to
allay malicious gossip and rumors as to
what was becoming of Jackie's money."
In January, 1923, they asked that these
guardianship papers be dissolv^ed, stating
it was anticipated that a trust fund ar-
rangement would be completed. Four days
later I received the bonus check from Mr.
Schenck — $500,000. — the largest single
amount ever written up to then in the mo-
tion picture industry.
WHAT became of it? This is one of
the many unanswered questions which
has led me, at last, to seek justice in a
court of law. And why was that trust
fund arrangement never completed? Had
it been, the whole story of my life would
have been altered.
Three years ago I lost Dad. After the
acccident, while I was lying in bed with a
broken rib, serious bruises and nervous
shock, they told me I would not be allowed
to get up to attend the funeral service.
As if they could stop me ! "I'm going
to Dad's funeral," I said. "I'll walk out
of here just as I am if you don't give me
my clothes. He was always my best pal."
My mother was a wonderful woman. I
adored her, and she was devoted to me,
so long as my father lived. But today she
has found new interests. I am no longer
the chief attraction in her life. And she
has said that it is Betty, my wife, who is
urging and advising me in the action I am
taking !
Betty has nothing to do with it. I've
been in love with her as long as I can
remember. We've always been in love
with one another. Neither of us could ever
see any other person. I've had more fun
since I've known Betty and gone around
with her than I ever had in my childhood.
But I can't let my wife support me. True,
both of us could live on what she receives
from the studio. But no man likes to be
supported by his wife. And I don't see
why I should be dependent on her after
having earned $3,000,000., the sum com-
puted by my attorneys.
Three million dollars before I was
twenty-one, and $13,000. since ! For my
two weeks in "College Swing," I was
paid $1000. It wasn't much, but I
hoped and prayed it would pave the way
for a comeback. After all, acting, the
screen, is my work. It is the only work
I know, the only "business" for which "The
Kid" was trained.
The law says it's right for parents to
take all of a child's earnings, but already
there are signs that that law is about to
be changed, to some extent, at least. Only
recently. Judge Emmett H. Wilson an-
nounced from the bench that hereafter he
will approve only those contracts which
provide for placing at least one half a
minor's earnings in a trust fund payable to
that minor at or after majority. Since all
contracts involving minors must be ap-
proved by the Superior Court, it may be
that improvements will be made, and that
the children now employed in pictures will
not be sold into slavery as I was.
For their sakes, I'm pulling for that day
to arrive.
JACKIE SHOULD HAVE HIS MONEY
(Continued from page 55)
dinner, and washes up afterwards. He
gets up at five o'clock every morning to
drive me to the studio. He almost always
comes to the studio to have lunch with me
in the commissary. He calls for me and
drives me home every night. It is because
he is the kind of person who does so much
for others that it hurts to think that the
people who should have loved him the most
have tried to keep from him what he him-
self has earned.
Right now I want to correct one very
false impression. Jackie has never lived
on my money. That idea is absolutely un-
true. Jack had an orchestra before we
were married. Mr. Bernstein travelled with
them, of course, and most of the quite con-
siderable money the orchestra made went,
so Jackie was told, into the Jackie Coogan
Corporation, there to be "saved" for him.
Jack was given fifty dollars a week out
of the earnings. He sent most of that back
here to me to bank for him, so he had
some of that left when we were married.
Then we made our personal appearance
tour together, before we were married, and
that paid quite well. He has done a couple
of broadcasts, and he was in the picture,
"College Swing" with me.
We have been married only six months
so it is easy to see that so far he has
earned enough money to pay our expenses
out of his own pocket. On one or two
occasions he has had to borrow from me,
but he has always paid it back. Jackie
wouldn't keep a cent that didn't belong
to him, or that he didn't earn. He isn't
the kind to live on a woman's money. He
has supported a family all his life. It isn't
likely that he would go into reverse now,
and allow his wife to support him. If there
is anything to this theory of "conditioning"
children to certain reactions, then Jackie
was certainly conditioned to being a bread-
winner !
Jack and I first met on the boat to
Catalina. My mother and I were on our
way to the Island for a few days vacation.
Jack was on the boat with a boy I knew,
so that boy introduced us. It wasn't love
at first sight. I liked Jack, because he
was quiet and unassuming and yet such
good fun. He has the grandest sense of
humor in the world. It's a good thing he
has. He's needed it. He is the life of
every party we go to. People who see
him at parties often think he is drinking,
because he is the gayest one there. But
they are wrong. Jack hasn't taken a single
drink for five years. Five years ago he
signed the pledge, and he has kept that
pledge to the letter. He is rather old-
fashioned in certain respects. In the ways
that make a man respect a woman, salute
the American flag, and believe that mother-
hood is sacred. My poor Jack.
Well, anyway, it wasn't one of those
spontaneous combustion romances. I came
to love Jack slowly, as I came to know his
character, and realize his qualities. We
danced together the night we met, at our
hotel in Catalina. We had a lot of fun.
But I didn't see or hear from him again
for two months. Then one night he called
me for a date. Ordinarily I would have
turned down an eleventh hour date like
tiiat. For all I knew he had tried seven
other girls before he got around to think-
ing of me. But I had lieen "stood up" that
night myself, and I was good and mad, so
I WL-nt. Well, it was a last-minute date, all
rigiit, and I guess it's going to last till
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94
the last minute of our lives, for after that
evening neither of us ever made a date
with anyone else.
It has been hinted, and none too subtly,
that I married Jack for his money.
That's a laugh ! I knew right from the
start that Jackie had no money. His
mother saw to that. For as soon as Jack
and I began to go together his mother
'phoned and told me that if I thought I was
marrying a wealthy boy I was sadly mis-
taken, that Jackie _ was a pauper, didn't
have a penny to his name. Just to make
it doubly sure and doubly unpleasant she
called my mother and told her the same
thing. And she wasn't any too sweet about
it, either.
T FELL in love with Jack for his gentle-
ness and kindliness, for his lack of ego-
tism. Lve never once heard Jack talk about
his fame as a child star. He has never
volunteered any information about the pic-
tures he made, the experiences he had. I
always have had to say, "Tell me about this
picture, Jack," or, "what happened when
you made that picture?" If you met Jack
today, and didn't recognize him, you'd never
know from him that he was one of the
most famous children in the world. I liked
his modesty in a town where modesty is not
exactly given away as a premium.
I liked him because of his adoration of
Charlie Chaplin. He still adores Charlie.
A couple of months ago we met Mr.
Chaplin at the Trocadero, and he and
Jackie had a long talk about the good old
days when Jackie was the beloved "Kid."
I never saw Jack's eyes shine as they did
that night.
While we were going together before our
marriage I would occasionally have dinner
with Jack and his family. I'd go to please
Jack, not myself, for it was the very re-
verse of pleasure for me. Mrs. Coogan
was never nice to me. Quite the opposite.
She always made me feel that I wasn't
wanted. Her whole attitude and manner
spoke louder than words. As for Mr.
Bernstein, he just didn't speak to me. Mrs.
Coogan resented me, and resented our
marriage.
It was always embarrassing for me to go
there, painfully embarrassing, in many ways.
Jack and I would sometimes want to go
out after dinner, dancing or to a movie.
And his mother would always say, right in
front of me, "All right, but what are you
going to do for money ?" That kid didn't
even have p'ocket money. He'd made mil-
lions, and half the time he didn't have
enough loose change to take a girl to the
movies. But he'd just say, "All right then,
we'll just ride around in the car." And we
would.
Every time he made a little money he
would buy me a present. I'd try to stop
him. I'd say, "Save your money. Jack.
We're going to be married, and we'll want
it then." But Jack has the giving complex,
and you couldn't stop him. But every
time he bought me anything his mother
would raise cain.
It seemed to me that Jackie's home life
was all but unendurable. Only because he
was used to it, only because he has the
sweetest, most passive disposition in the
world could he have stood it. There he
was in that mansion, with all the de luxe
trimmings, the palatial estate he, when a
tiny child, had bought and paid for, and
I'm telling you that he was not only
treated as a stranger within those gates,
but as a very unwelcome stranger at that.
There were, and are at this writing, two
Rolls Royces standing in the garage. But
when Jackie and I went driving we didn't
use a Rolls ! Jackie didn't even have the
right clothes when I first met him. I've
had to make him go out and get things for
himself. I guess he got out of the habit
of believing he was entitled to anything.
I remember being at the house one night,
looking over some old albums and press
books Jackie's father had kept. I'd ex-
claim over some picture of Jackie as ' a
small child and Mrs. Coogan would brush
the book aside and say, "Let me show you
some baby pictures of Robert !" She made
absolutely no bones about the fact that
Robert is, and always has been, her fa-
vorite. I give her this much credit, I
think she really does love Robert.
The very fact that she came out in
court as she did, and called Jackie, her
own son, a "bad boy" — well, that's enough,
isn't it? It makes ■ you think of those
mothers whose sons have been murderers
and thieves, ingrates and wastrels, all kinds
of beastly things, and of how those mothers
have stood by their sons to the very last.
It makes you think of that story of the
mother whose son cut out her heart, and
as he was running to give his mother's
heart to his wicked sweetheart, who had
demanded it, the heart cried out, "Be care-
ful, don't stumble and hurt yourself, rriy
son."
Jackie "bad !" It's so preposterous it
would be funny, if it weren't so sad. I
suppose she was referring to the fact that
Jack flunked college, that he got a little
tight once or twice when he was in his
teens, just trying out his oats. Well, what
of it? Jack's father only laughed when he
flunked. He realized that Jack's childhood
schooling had not trained him for academic
life. He knew that boys will be boys, for
at least a little while, and no harm done.
Those few poor, feeble little "oats" are the
only ones he ever sowed.
OF COURSE Jack didn't have any money
to buy me an engagement ring. But the
Jackie Coogan Corporation had taken a
ring for a bad debt at one time, and Jack
managed to get that. It was a beautiful
square cut diamond, really gorgeous. It
zcas, I say, because, as you may remember
reading, it was stolen from me in Chicago
when Jackie and I were making our per-
sonal appearance tour.
When we were married (we had a big
church wedding and a reception at my home
afterwards) Mrs. Coogan came to the wed-
ding, but Mr. Bernstein didn't even come
into the church to see us get married. He
waited on the steps outside. Mrs. Coogan
wanted us to live in a sort of run-down
little house on the trolley tracks. She said
that Jack was a poor boy and that was
where he should live. I insisted on our
cute little house in Westwood. When I
think of all the money Jackie has made,
all the comforts and advantages and lux-
uries he has given to his family — well,
these things are just hard to believe.
I think that Jack had a fairly happy
childhood, even without a mother's love.
He loved working in pictures, because
everyone was so wonderful to him, loved
him so much. Jackie then, as now, thrived
on warmth and affection. Perhaps he
didn't realize that his mother was indiffer-
ent, was only affectionate when they ap-
peared together in public. And he did have
his father's love. His father adored him,
and it was mutual. If his father were
living now none of this could have hap-
pened. Of course I never met Mr. Coogan
Senior. But I know how he loved Jack,
what he had planned for him. I know that
he often spoke about the trust fund, about
how all of Jack's money would be his when
he was twenty-one. But he never lived to
see that pathetic twenty-first birthday.
I am sure, too, that Jack's father was
very unhappy before he died. Things were
happening in the family which must have
given him premonitions of what might be-
come of Jack if anything happened to him.
It was Mr. Coogan who bought the
ranch property for Jack in San Diego
MODERN SCREEN
County. He told Jack it was to be a place
where he could spend his week-ends, where
he could relax and have fun. After Mr.
Coogan's death Mrs. Coogan and Mr.
Bernstein sold the ranch, right over Jack's
head.
Well, by the time this is printed the
court proceedings may be all over. If
Jack wins he will win everything —
everything that is left, or that comes to
light. I don't know what it will amount
to. I do know that Mr. Bernstein laughs
about how he lost a million dollars on the
stock exchange. It's easy to joke, I guess,
about losmg a million dollars someone else,
a kid, has made.
No matter how it all comes out we will
go on with our own plans. Jack wants to
do radio work. He has a beautiful speak-
mg voice, and he should be on the air.
He'd like to do pictures, too, although I
don't think he is as interested in pictures
as he might have been had he not spent a
young life-time making them. He'd like
to do character juveniles if he does pictures
at all. He knows he doesn't look like a
Robert Taylor or a Tyrone Power. But
he would like to do the kind of things
Tom Brown sometimes does.
I want to keep on working, too. I started
out as a member of a studio dancing chorus.
Then I played the lead in a Wheeler and
Woolsey comedy, "Hold 'Em Jail." I
also made a lot of shorts, and played in
the Fred Astaire picture, "Gay Divorcee,"
later in "This Way, Please," with Buddy
Rogers, then in "College Swing," and now
m "Give Me A , Sailor." I'd like to develop
into doing the kind of comedy-drama things
Ginger Rogers does so well, like "Vivaci-
ous Lady," and "Stage Door." I do want
to keep on in pictures, and whatever "I want
to do is okay with Jack.
I haven't tried here to go into any of
the legal aspects of Jack's case. I've just
tried to tell why, apart from the plain
ordinary fairness of it, Jackie should have
his money, because he is the kind of a boy
you don't treat as he has been treated.
Jack IS getting thousands and thousands of
letters. They've been pouring in ever since
the case began. Some of them are from
mothers who feel that all motherhood is
sort of hurt because of this. I'd like them
to know that Jack was hurt, too, and why.
I'd like the whole world to know that "The
Kid" they used to love is today the same
sweet kid he always was.
WHAT MAKES A MAN FALL IN LOVE?
(Continued from page 45)
honest, you'll see that he agrees with me.
"Naturalness is one of the important
things a girl should strive for. Many girls
seem to think we fellows expect them to
'put on an act.' So they dramatize them-
selves. I have seen girls dramatize open-
ing a door, stepping out of a car, ordering
a dinner, anything for a chance to appear
other than what they are. I believe they
are under the impression that men want
them to be story-book or screen heroines.
"Dream girls are fine in fiction, and
lovely as dreams, but personally, I'd prefer
something more substantial in real life.
Companionship, for instance. And that's
not a small order, either," he added.
VyAYNE MORRIS, another one of
» » Hollywood's most eligible bachelors,
has squired some of the most glamorous
girls in the world, at one time or another.
Here are his interesting observations on
this absorbing subject.
"Whenever I meet a girl," he said, "I
involuntarily ask myself, 'Is she the sort of
person I could live happily with on a
desert island?' If she isn't, that puts a
time limit on my interest in her. But if
she is, then I know she's the kind you can
sit and talk with, exchange ideas with, and
have for a companion.
"No man wants to have a choice between
taking a girl to a night club or a theatre
every night, or being bored.
"There are two prime requisites that
every girl must have, if a man is to enjoy
being with her for any length of time.
They must always be first in importance,
all others taking secondary place. I refer
to intelligence and a sense of humor."
Narrowing your chances with Wayne
Morris down still further, he likes a girl
who gets a kick out of life, who is a good
dancer, who is musically inclined, and who
likes to read.
"And," he suggested, "a girl should stop
fretting if she isn't a raving beauty. Beau-
tiful girls aren't always the most interest-
ing. Charm is so much better. But she
should learn to wear clothes well, so that
the man who takes her out may have that
proud feeling of 'showing her ofif.' "
Here are three particular rules Wayne
gave for the girl who wants to have mascu-
line admirers : "Give a man his own way in
httle things. Learn to be broad-minded with-
out throwing away any of your good prin-
ciples. Get yourself a thorough under-
standing of masculine psychology."
It is Gene Raymond's opinion that if a
girl is standing on the sidelines while
romance passes by, then it's time she looked
into her own personality.
"Perhaps^^ she's too aggressive," pointed
out Gene. "I've never once seen an aggres-
sive, domineering girl and a popular girl
rolled into one. No matter how much
anyone tries, he can't run away from the
fact that men have always been the leaders,
at least outwardly, and they still like to
feel that they are.
"Although it's true that every eligible
man a girl meets may be a potential hus-
band, she should never let him know she
looks at him in such a light. When the time
comes to get serious, let the man do it.
"Sometimes it looks as if certain girls
do get away with active pursuing, but I
don't think you'll see such tactics working
m most cases. However, there is something
to be said along the same line, and it's this :
some girls, in their zeal not to pursue, lean
over too far the other way.
"For generations mothers and other
fernale relatives have dinned into girls the
belief that the more reticent the girl the
more interested the man. I differ with
this. If a girl wants to gain a man's
interest, she's got to show that she's inter-
ested in him, not necessarily as a man, but
as a person. Very few women can success-
fully pursue the policy of extreme aloofness
"One of the first things a girl should
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whether he appeals to her as a future hus-
band, or just as an amusing playmate. If
the latter is the case, she can use all the
wit and pep at her command, and if she
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good. She can impress him with her tire-
less energy for play, and he'll love it. But
more often than not, he'll lead her more
quiet, more sensible sister down the middle
aisle.
"If a man's in a marrying mood, he will
generally look for qualities of sweetness a
sensible nature, and a quiet restful per-
sonality. A man will look at such a o-irl
and say, 'That's the type of girl I'd like" to
marry— and he usually does."
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BUBBLING BILLIE
{Continued from page 83)
on the stage. "Let her?" she wrote. "I
would urge her."
"She doesn't want to go on the stage,"
Billie told me. "She has seen too much of
the struggle for success, the rocky road to
the theatre, the terror of first nights ; and the
stage has no glamor for her. Had her father
lived, I think he would have gotten her in-
terested in the production end. Now she
doesn't know exactly what she wants to do.
She is trying out different things, among
them a column which she writes once a
week for the 'Beverly Hills Citizen.' "
ASKED what ideas she had tried to pass
on to her daughter, Miss Burke said,
"You can't pass much on to this modern gen-
eration. Their view is clear and clean-cut,
and they are not hampered by a lot of sen-
timental—" she left the sentence half fin-
ished, while her hand made an incomplete
gesture. "I don't know the exact word for
it. They are brave little people, all wanting
to do something with their lives. You rarely
hear of women today who are content just
to stay home and do nothing. I think par-
ents make a mistake in trying to force their
ideas on younger people."
Billie admires Dale Carnegie, and thinks
he gives excellent advice in "How To Win
Friends and Influence People."
"He tells you that you can't force people
to do what you want them to. You must
try to make them want to do things. That's
a wonderful idea, if one were clever enough
to know how to apply it, but I'm not. My
daughter is her own mistress," she said.
"She can do anything she wants to do, live
and work as she pleases. I am happy that
she chooses to stay with me."
There is something very sweet and de-
precating about Billie Burke. She very
obviously applies her own advice, and has
learned the cleverness which conceals clever-
ness.
Never have I heard Billie Burke say an
unkind word about anyone. Of Katharine
Hepburn, with whom she appeared in "Bill
of Divorcement," she said, "She is so definite
and clean-cut, like a blade of green grass.
She has the terrific courage of not caring
what other people think about her. She has
the most beautiful hair in Hollywood. On
the_ set she cuts up continually, and her
antics are terribly funny, but they have the
virtue of never hurting anyone." (This
strange way of mixing physical characteris-
tics with praise of Katharine Hepburn's
character is another Billieburkish trait. For
to her, bodily beauty and beauty of the soul
are inextricably mixed up.
Few people watching Billie Burke on the
screen today, remembering how far she has
come, and over what obstacles she has
triumphed, recall the fact that she was born
in humble obscurity, the daughter of a clown.
Yet if it had not been for her father, "William
Ethelbert Burke, I doubt if Billie would ever
have gone on the stage. For little red-
headed Ethelbert (named after her father)
worshipped him and his fanatical devotion to
his work. And clowns in those days were
much greater artists than they are expected
to be today. In addition to all the fantastic
things they did to amuse people, they also
sang, and William Burke had a voice that
was^ strong and true and fine.
Billie's mother came from a fine southern
family, and her maternal grandmother,
Cecilia Flood, a southern writer, had been
deeply shocked when Billie's mother married
a circus clown. Hoping that she might at
least save little Billie from ever following a
career in the circus, and that she might be
able to turn the small child into a writer of
respectable literature like herself, she sent
Billie books, and encouraged her to write
long letters.
But it didn't work. Billie's father went
abroad and established himself in English
vaudeville, and more than ever Billie was
fascinated by the life her father led. Because
he sang, she wanted to sing, and while she
was still very young, she started taking sing-
ing lessons from Louise Douste in London.
Billie made her first important professional
appearance at eighteen in an English musical
comedy, in which she sang the hit song of the
year, "My Little Canoe." Impressed by her
work in England, Charles Frohman brought
her to the United States, where she became
John Drew's leading lady. From that time
on she played romantic roles. She has made
the transition from a romantic heroine to a
comedienne gracefully. But then Billie
Burke always does everything gracefully.
THE INFORMATION DESK
{Continued from page 15)
Charles Smith, Terral, Okla. Lily Pons had a
French father and an Italian mother. She
studied in Europe, made her Metropolitan
Opera debut in 19.31, and her motion picture
debut in 19.3.5. She is just five feet tall,
weighs one hundred and four pounds, has
dark hair and eyes. At this writing she is
planning to marry Andre Kostelanetz, mu-
sic director, in June. Her last picture was
"That Girl from Paris."
Wm. Schupp, Louisville, I^y. Bobby Breen
has brown hair and eyes. He was born in
Toronto, Canada, November 4, 1927. He
sang in night clubs, on the stage, and for
the radio before going into pictures.
Miss G. Resnick, Brooklyn, N. Y. If you will
write Mr. ICenneth Clark, Information De-
partment, Motion Picture Producers and
Distributers of America, 28 W. 44th Street,
New York City, you can get all the informa-
tion you need regarding censorship, codes,
etc.
Kay Nelson, Edmonton, Can. C. Aubrey Smith
was born in London, England. July 21, 1SG.3.
He attended Cambridge University, then
toured South Africa and Australia with
championship cricket teams. He went on
the stage in 1892. He is six feet two inches
tall, weighs one hundred eighty-four
pounds, has gray hair and blue eyes. He
played in "Hurricane," and "Four Men
and a Prayer."
H. L. Luke, Honolulu, Hawaii. Simone Simon
is French. She was born in Marseilles,
France, April 2.3, 1914. Her hair is brown,
her eyes are blue. She is five feet three
inches tall, weighs one hundred fourteen
pounds. She played in many European
films before coming to America.
L,. Allan Smith, Lawrence, Mass. We have
discontinued our fan club directoi'y service.
Harold Babeock, Butte, Mont. We can't
attempt to advise you, but if you are seri-
ous about it you must work hard. Get all
the general education you can. Besides
that study people and plays, and learn how
to act. Join a local theatre group, either
amateur or professional, and study hard.
Acting requires much work as well as un-
usual talent.
96
MODERN SCREEN
CALAMITY JANE
(Continued from page 50)
lively how to get you interested and how
to hold your attention. She'll never be a
wallflower, either, for the boys at the studio
buzz around like bees. She's full of pep
and fun, and keeps 'em entertained, and that
is what young gentlemen seem to dote on.
Mickey Rooney and Jackie Searle are Miss
Withers' favorite gen'men. They're no
sissies, you can bet, and when they're play-
ing a good game of catch-and-pitch, Janey's
right in the middle of it.
Yes, this starlet is right there when it
comes to games. She always wins at them,
too. "I just can't seem to help it," she
says candidly. "I guess maybe I'm just
lucky. I have a magic set and can do
most of the tricks right off. Then of
course, I have dolls — lots of 'em. There
can never be enough dolls, can there?"
We allowed as how maybe there couldn't
where any normal little girl is concerned.
"I have all kinds," Janey boasted just a
little. "French, Chinese, Indian, well,
you know, just about everything. I have
a Jane Withers doll, too, but she's not my
favorite. Maybe that's because she's too
much like me," and Jane gave a big wink.
Here is a young lady who will never be
off the screen because of the "awkward
age." She'll bridge the gap between little
girl and ingenue because of her ability and
personality. Not that Jane will ever be an
ingenue in the saccharine sense of the
word. She has too much intelligence and
humor for that. She nicely combines
southern charm with Yankee pep. If you
saw "Rascals," you'll know just how much
brains and wit she combines. Little Withers
is very much in the picture even when she
isn't even on the screen at all.
The Withers have a new ranch house
smack in the middle of a two-acre tract,
one acre of which is to be devoted entirely
to Jane's menagerie.
"It's so nice for Jane," Mrs. Withers ex-
plained. "We have the entire top of the
hill and our view isn't obstructed at all.
The place is so healthy for Janey, as she
spends a lot of time outdoors."
"You see I have my chickens to take
care of," Jane broke in, "and they certainly
are lucky, too. I had a house built for
them especially with upper and lower
beds. I guess they are about the luckiest
chickens I know of, with their home and
the view and all. There's twenty-seven of
them, and do they lay 1 Why, we're 'most
stuffed with eggs, 'cause they give about
twelve a day now !
"They have a bath house, too, but they
don't take a real bath." Janey laughed.
"They come out and stick one toe in and
jerk it right back. Then they put in a
little more until finally they have it all in.
Next they do the same thing all over
with the other foot and then they just hop
out. That's all there is to it."
_ After we heard about the poultry situa-
tion out Withers Way, our young hostess
let us in on a secret. She has a real car.
It'll go like a whiz up to 35 miles an hour
and she's to drive it all by herself. Her
father is having a track made on her acre,
and then she may have a race a day all
her own. This Janey tells us is just what
the doctor ordered for her.
You're right, there's never a dull mo-
ment with a Withers !
BETWEEN YOn'N'ME
(Continued from page 17)
beauty and ability, but has always dis-
played a rare judgment in the selection
of her roles.
Her vivid personality is so real on the
screen. You have heard the expression
"The eyes are the windows of the soul,"
and that expression always comes to my
mind when I watch Bette's eyes flash
and register the emotion she feels. The
eye of the camera registers every little
mood, and even the thought behind the
mood. Consequently, false thinking is false
acting. Bette Davis is so imbued with her
part, lives it so completely, that her sin-
cerity is beyond doubt.
The only thing I can say against this
clever little actress is — we cannot get
enough of her.
—Mabel McCown, Englewood, Col.
$1.00 Prize Letter
Those Musicals Again
"You can't see the wood for the trees."
I heard that phrase as I left a cinema
after the showing of one of those tre-
mendous, spectacular musicals that seem
so dear to the hearts of film producers
today. In this particular picture, "The
Goldwyn Follies," we were given ballet
dancers, accordion players, opera singers,
dramatic actresses, ventriloquists and crazy
comedians.
I have no doubt that all are talented
in their own way, but their disjointed series
of vaudeville acts successfully destroyed
any prospect of a coherent picture. Even
this might not be any great loss in some
cases, but we know that Goldwyn can
produce strong, sane film masterpieces, and
it is difficult not to feel disappointed when
we are given crooning hot-dog salesmen
from the man who made "Dead End."
— Peter Gordon, London, Eng.
$1.00 Prize Letter
It's Not Fair
I have just returned home from seeing
"Rebecca of Sunnybrook Farm," if it can
be called that, for a more mutilated ver-
sion of this wonderful book I have never
seen. We had eagerly awaited the pic-
ture, thinking it would follow the original
story as did "Heidi." Were we dis-
appointed !
There is nothing of Kate Douglas Wig-
gin's homey, old-fashioned action, for all
this has been changed into a too-modern
plot that is disgusting in that it is made
to suit the star and not to please the
audience.
Mind you, I'm not complaining about
Shirley. She is still the perfect actress
and did her part amazingly well. But,
how on earth the title was chosen, I can-
not understand. Why did they not call
it something like "Rebecca of Singing
Brook Farm" or "Rebecca of Radio Land,"
either of which would suggest "Rebecca
of Sunnybrook Farm" and yet not be dis-
appointing in its new plot.
Please don't fool us any more, pro-
ducers— be honest with your titles !
—Mrs. F. E. Willis, Hagcrstown. Md.
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97
"WHY SHOULD I MARRY?"
(Continued from page 29)
hear when a movie man and a movie
maid go dancing with fair regularity. In
Hollywood a boy can't date a girl more
than three times without other folks col-
lecting their old shoes, saving up their old
rice and keeping their eyes glued on all
outgoing planes to Yuma.
Tyrone talked to me matter-of-factly,
frankly. That is Ty's way. There is
nothing evasive, or coy, or reluctant about
Tyrone. He cooperates with everyone in
the business from his producer, in whose
superior judgment he trusts, to the prop
boy, who knows more about props than
Ty does. He makes himself attractive to
everyone from the least to_ the greatest
because he is, naturally, a friendly, likable
and very intelligent chap.
He went on, "I have no intention of
marrying for at least five years._ If some-
thing, someone, changes my intention —
that will be that. But to remain single
for five years is my present intention.
In five years I will be twenty-eight, and
that will be time enough for marriage. I
hope then that I'll find the girl who will
want to share my life with me, all of the
rest of my life. And I hope, by that time,
to have some time and some life to give the
girl I marry. But now, and for the next
five years, all I want to do is work. All
I want to think about is work. All I
dream about is my work. It's my 'grand
passion,' an exacting and also a beloved
mistress who takes everything I have to
give, and who is welcome to it. I want to
work furiously. I want to give my work
every bit of concentration of which I'm
capable. I actually have no time for any-
thing else, except my hobbies. And you
can- hardly call marriage a 'hobby.'
NOW, honestly, what kind of a husband
would I make? When I get through
the day's work I'm so tired I want to go
right home and go to bed. When I do go
out — and I do go out some, of course — I
find myself thinking of what I've done to-
day, how I might have done it better ; think-
ing of Avhat I'm to do tomorrow, of changes
in the script, of my lines, and whether I
know them. I am more apt to get ideas
about bits of business for the character
I'm playing to do than ideas about what
night club to hit next, or how well I'm
dancing.
"My days on the set are days of steady
work, work that absorbs every ounce of
thought, emotion, and energy I've got to
give. Beside the actual work itself_ there
are conferences about the next picture,
there is my wardrobe to be attended to,
there are interviews and photographic sit-
tings, and visits to the dentist. There
are rehearsals for my radio program, and
then the broadcast itself. I'm young and
healthy," laughed Tyrone, "but, after all,
I'm only human, and there are only twen-
ty-four hours in any man's day.
I haven't time to know how I feel.
I haven't time to analyze my own emo-
tions. I have time only to know how the
character I'm playing feels ; whether he,
my shadow self, is in love, or not in love;
what his reactions would be, or should be.
No girl would want to marry a succession
of shadows which are more real than the
man who projects them.
"You see, everything has happened to
me so suddenly, with such sensational, in-
digestible speed. I must have time to
absorb it all, to learn how to take it in
my stride. I can't take on another career
until I have reached a point in this career
where I am not eating and breathing it."
98
Yes, "sudden" — and "enormous" — are the
words. For when you consider what this
boy of twenty-three has done in Holly-
wood, in a scant two years, you feel a little
breathless yourself. When you realize
that in the one year of 1938 he will have
"done'' over nine million dollars worth
of productions, you will agree that that's
preposterously more than any one pair of
young shoulders is usually called upon to
carry. You can see that he could not,
either wisely or well, add matrimony to
the burdens he now carries, however
pleasant it might be.
Tyrone is amazingly wise. You wonder
how so much maturity of viewpoint,
so much clarity of thought, so much
poise of mind as well as of manner
could be concentrated in one boy of
twenty-three. When you talk with him
you forget how young he is. It is
significant, too, that for all his hand-
someness (which really quite takes the
breath out of you) he never has been ac-
cused of being "beautiful," his surpassing
good looks have never been stressed.
That's because you just don't think of his
looks when you are with Tyrone for any
length of time. There is too much back
of the looks, character, determination, steel,
fire, books read, philosophies worked out,
interests which extend beyond himself.
Anyway, by the end of 1938 Tyrone will
have finished "Alexander's Ragtime Band,"
a little job that cost two million and
seventy-five thousand dollars to make,
"Suez," which will make two million dol-
lars wish it had never been born, and
"Jesse James," which is to follow "Suez,"
and will also cost high over the two
million mark. This latter will be Tyrone's
first Technicolor production. In between
whiles he played Count Fersen to Norma
Shearer's Marie Antoinette in the picture
of the same name, and what that cost is
Norma Shearer likes Tyrone
Power, too. She insisted on
him for "Marie Antoinette."
something I don't like to even think about.
So, a little addition, a little playing about
with these six-digit figures will give you
some idea of the expensive schedule with
which Ty is involved for 1938.
"Too many problems, too," Ty com-
mented over the dessert. "Marriage would
present too many problems, I mean. Not
the customary, understandable problems
of Joe Doakes marrying Mary, and the
two of them struggling and saving and
skimping to make ends meet, having kids,
working and growing together. I can
understand their problems. But the prob-
lems I would have to face, if I married
now, I don't understand at all. I don't
even know what they'd be. Obviously,
they wouldn't be matters of working and
struggling together. Secretaries and
studio departments can do for me, for all
of us in the picture business, what a wife
would do for the average business man.
I think it's pretty sad if a man and wife
can't feel necessary to each other.
BUT why even think about all that
now? I'm not contemplating matri-
mony. I want my career more than I want
anything else in the world, and I know it.
I'm in love with it. It's all the romance
I need. It's adventure. It's experience,
all kinds of experience. It's excitement.
It's keen fun. Like a much-advertised
brand of cigarettes, 'it satisfies.' "
"What's such fun about it?"
"It's fun because I get to do and be all
the things I've always dreamed of doing
and being, all those things that most fel-
lows dream of doing and being. Say,
show me the boy who hasn't dreamed of
standing up there and conducting an or-
chestra. Well, I get to do just that in
Alexander's Ragtime Band. The studio
engaged a noted conductor to coach me,
and then I had the kick of standing up
there with the old baton, and conducting —
and Irving Berlin's music, at that. Tell me
that isn't fun ! We did some rain scenes
the other day on the sound stage. Of
course, we all bleated about getting soaked
to the skin and catching our 'deaths of
pneumonia,' but actually I loved it, slosh-
ing around in water-logged boots, feeling
the water splashing on my face, drenching
me to the skin. What kid doesn't get a
kick out of an experience like that, but
doesn't get a chance at it because his folks
are afraid he will catch cold !
"I got a big wam out of the fire stuff
in 'In Old Chicago.' What fellow wouldn't
want to have seen the famous Chicago fire,
to have been in it ! I saw it. I was in it.
What fellow hasn't read about Suez, and
wished he could have witnessed the thrill-
ing linking together of the Mediterranean
and the Red Sea ? That's adventure ! And
when we make Jesse James (what boy on
earth wouldn't want to play Jesse James?),
we're going to do the big train robbery
right in Kansas, where it actually hap-
pened. And 'Lloyd's of London,' and
'Marie Antoinette !' I'm still fan enough
to have gotten a big kick out of working
with Norma Shearer. A short while ago
that would have seemed incredible."
Right here this young man who hasn't
time to think about marriage, let alone time
to get married, was summoned to the set.
He said goodbye, then called back, "If
I change my mind I'll let you know !"
So, he isn't going to get married, girls!
Now, for at least five more years anyway,
you can watch young Ty on the screen,
and dream that heavenly dream, that some-
how, some way, "it might be me!"
Printed in the U. S. A. by Ait Color Printing Company, Dunellen. N. J.
RAGTIME BAND 1
Reckless rhythm ihrobbed
^^,„ly. Maddening melody
uu M +he night, surged g>d-
love . • •
*°They .et on Son F.a.clsco's
of culture and wealth. An _
eSntiy-discoveredgU.
But Life had much to teach
,hem The Fate that brought
them together, tore them o ^^^^
• ? " i the lowest depths ot defeat . • -
node of success, the poignant story
rlasslc whose name .t bears ^^^^^ (,^3.
1 i. c+ories of +l^ese pic-
^l^UeUSrSCREEH aOMANCES
tures in the
UreHo Youn. ond Joe. McCreo
THREE BUND MICE • • ■ ' Herbert Mor*a«
ALWAYS GOODBYE _^ Borbo ^
,„VE5 UNDER SUSPICION • • ^ ^,Hs end Clolre Trevor
VALLEY OF THE GIANTS . • •
RAY OGLESBY, Independent
Tobacco Expert, Says:
"At Every Auction, Luckies
Buy the Same Fine Leaf"
For Your Taste . . . think over the
cigarette preference of America's
independent tobacco experts. These
experts — hke Ray Oglesby — are not
connected with any cigarette maker.
They are skilled auctioneers, buyers
and warehouse operators.
Sworn records show that among
these men, Luckies have twice as
many exclusive smokers as have all
other cigarettes combined.
For Your Throat. . . keep in mind
that only Luckies give you the throaty
protection of the "Toasting" proci
ess. This process takes out certain!
harsh throat irritants found in all
tobacco.
So next time try Luckies . . . try
them for a week, and see.
Swom'ReeordsShowThat-m^ MEN WHO KNOW TOBACCO BEST- ITS LUCKIES 2 TO
J
30 1938
©CIB
SSSSIO'^ MODERN SCREEN
MEN'S HEARTS?
SHE KNEW THE SECRET of allure— a pulse-
stirring fragrance to weave on those around her,
a spell of thrilling delight . . .
NOW IT'S YOURS-the secret of how to be ut-
terly adorable always, with the romantic, linger-
ing scent of Djei-Kiss Talc.
START your day the Djer-Kiss way! Bathe
your entire body with this delightful
talc each morning. Djer-Kiss keeps you
dainty and refreshed all day . . . Helps you
stay cool, for it actually lowers body tem-
perature. Clothes feel more comfortable . . .
Makes you alluringly fragrant. Use Djer-
Kiss generously, for the cost is surprisingly
small. Buy it today at drug and toilet goods
counters— 25c and 75c sizes. Liberal 10c
size at all 10c stores.
The same delightjul fragrance in Djer-Kiss
Sachet, Eau de Toilette and Face Powder.
YOURS FREE— the exciting new book,
"Women Men Love— Which Type Are You?"
— full of valuable hints on
how to make yourself
more alluring. Just send
a post card with your
name and address to
Parfums KerkofF, Inc.,
Dept. G, New York.
genuine imported talc
scented with Djer-Kiss
perfume by Kerkoff, Paris.
MO
Copyright, 1938, by Dell Publishins Co., Inc.
Regina Cannon Editor
Leo Townsend l-lollywood Editor
Abril Lamarque Art Editor
NOW SHOWING
GOINGS-ON IN GOTHAM
6
MACK HUGHES
SHE'S NOT AFRAID
8
FRANC DILLON
A YEAR WITHOUT MY JEAN
26
JEAN HARLOW'S MOTHER
KEEPING TABS ON TAYLOR
28
ROBERT JAMES
"AM 1 HOMELY!"
30
GLADYS HALL
THE PEOPLE'S CHOICE!
32
.JAMES REID
LOVE COMES ONCE
34
GLADYS HALL
WATCH OUT, WAYNE!
36
KATHARINE HARTLEY
THE MYSTERY OF MISS GAYNOR
38
IDA ZEITLIN
AFTER DIVORCE— WHAT?
40
FAITH SERVICE
HE'D RATHER BE HIMSELF
42
CHARLES DARNTON
'TISN'T SO!
43
ROBERT MclLWAINE
PUT YOUR BEST FACE FORWARD
44
MARY MARSHALL
HE WANTS TO DISAPPEAR
46
MARTHA KERR
SHE'S A SOFTIE
47
CHARLES GEORGE
WARDROBE WEAPONS
48
MARIAN SQUIRE
HIGHLIGHTING HERSHOLT
50
GEORGE BENJAMIN
SHORT SUBJECTS
STARRING SALADS 12
OUR PUZZLE PAGE 14
PORTRAIT GALLERY 19
OFF THEIR GUARD 51
GOOD NEWS 62
MOVIE REVIEWS 68
SMART SPECTATORS 84
INFORMATION DESK 86
BETWEEN YOU 'N' ME 94
RECIPES OF A FAMOUS CHEF
MOVIE X-WORD
OF YOUR FAVORITES
CANDID SHOTS
MOVIE TOWN CHATTER
FILM GUIDE
NEW KNITS
OUESTION-ANSWER DEPARTMENT
PRIZE LETTERS
Modem Screen, No. 301773. Published monthly by Dell Publishing Company, Incorporated. Office
ot publication at Washington and South Avenues, Dunellen, N. J. Executive and editorial offices,
149 Madison Avenue, N. Y. Chicago, III., office, 360 N. Michigan Avenue. George T. Delacorte,
Jr., President; H. Meyer, Vice-President; J. F. f-lenry, Vice-President; M. Delacorte, Secretary.
Vol. 17, No. 4, September, 1938. Printed in the U. S. A. Price in the United States, $1.00 o year,
10c a copy. Canadian subscriptions, $1.00 a year. Foreign subscriptions $2.00 a year. Entered
as second class matter, September 18, 1930, at the Postotfice, Dunellen, New Jersey, under act of
March 3, 1879. Additional second class entries entered at Seattle, Washington; San Francisco,
California; and Houston, Texas. The publishers accept no responsibility for the return of unsolicited
material. Sole foreign Agents: The International News Company, Ltd., 5 Breams Building, London,
E. C. 4, England. Names of characters used in stories and in humorous and semifictional matter are
fictitious. If the name of a living person is used it is purely a coincidence.
(T/umonnced I>ea/rKilU>)
TALC
% KERKOFF • PARIS
4
CLARK
GABLE
"TOO HOT
TO HANDLE
MYRNA
LOY
The best news since "Test
Pilot" with that rare pair of
romancers, M-G-M's tantaliz-
ing twosome. Clark's a dare-
devil newsreel man — Myrna's
an airdevil aviatrix . . . Action!
Heart-pumping paradise for
thrill and fun-loving picture fans!
witk WALTER PIDGEON • WALTER CONNOLLY
LEO CARRILLO * Screen Play by John Lee Mahin and Laurence Stallings
Directed by Jack Conway Produced by Lawrence Weingarten* A Metro-Goldwyn-Mayer Picture
GOINGS-ON IN GOTH
The movie stars take in
New York — the place
they go to see and be seen
BY MACK HUGHES
PUBLIC RENDEZVOUS No. 1 for
Hollywood's scintillating personalities
is good ole Gotham — New York City
to us. They trek from far and near
for a glimpse of the nation's glamor
town, where prince and pauper rub
shoulders on a social equality basis.
Did you ever see a dream walking ?
Well, I did ! — and in New York, too.
Loretta Young was the dream, but,
oh, that hat ! A slight matter of a
nightmare ! They say designers have
it in for tha gals this season. I was
never more certain than when Loretta
came into the cocktail lounge with a
bib tied round her head, and, monkey
fur cascading from her shoulders, to
top things ofif.
It brought to mind a little confab
she had with Lilly Dache before she
The Stuart Erwins
dine at "21," ren-
dezvous of the
smart set — hang-
out of top flight
celebs to us.
Hope Hampton
temporarily leaves
her house on Park
Avenue for a big-
ger one in Beverly
Hills.
When in New York,
Claire Trevor
dwells on the
twenty-ninth floor
of the Sherry-
Netherlands.
embarked for Hollywood. Spake Miss Young,
"Darling, if you find any things, hats or dresses,
that no one else can possibly wear, send them to
me. I always look my best in clothes everyone
else finds it impossible to put on."
Now you must admit that after hearing this,
it was no real surprise when Miss Young hove
into view at that swanky spot known as "21,"
making the patrons feel as if perhaps the hang-
over came with the drink.
In fact, it was at this same place where Stu
Erwin and his beautiful wife, June Collyer,
entertained at cocktails. Stu, it seems, is just a
bit fed up on ga-ga interviews.
"I'm darn sick of being the dumb country
boy," Stu began. "It's about time the worm
turned and some of my fans found out I really
know the answers. I'm the father of two fine
kids and I don't want them to think their Pa's
a blithering idiot. Once these publicity folks
type you, it's hard to break away."
Olivia De Havilland, here for a few days on
her return from a vacation in England, was
tendered a cocktail party atop the Radio City
Music Hall, where her film "Robin Hood" was
breaking records.
Seems the publicity gents didn't want Olivia
to take anything stronger than tea, and that, just
to keep in the spirit of things ! Annahoo, as one
of the waiters passed her by with a tray of
TNT, Olivia managed to snag one, to the
chagrin of her body-guards. It appears their
idea was to present (Continued on page 16)
MODERN SCREEN
IT ROCKED BROADWAY FOR 82 WEEKS!
NOW IT'S THE LOUDEST LAUGH ON THE SCREEN!
Boy meets girl! . . . Cagney meets and swept the whole nation from
O'Brien! . . . And the great stage coast to coast, becomes the love-
triumph that panicked New York and -laughter picture of a decade!
Presented by
WARNER BROS.
FROM THE STAGE PLAY PRODUCED BY GEORGE ABBOTT
Starring
JAMES CAGNEY
PAT O'BRIEN
MARIE WILSON • RALPH BELLAMY
FRANK McHUGH • DICK FORAN
Directed by LLOYD BACON
SCREEN PLAY BY BELLA AND SAMUEL SPEWACK
"SHE'S JUST a little girl from
the cow country," said one pro-
ducer after he'd met Gloria
Dixon for the first time. Well,
she may hail from Pocatello,
Idaho, but there are no alfalfa
seeds in that smooth head of
shining blonde hair. And if
there are any other gals back
home as smart and talented as
Gloria — well, Hollywood wouldn't
mind knowing about them too.
She was born Thais Dickerson
in Pocatello, Idaho, where she
lived, rode horseback, spent vaca-
tions in the mountains with her
father, attended grammar school
and acted every time she got a chance. She is her father's
daughter in every respect. They were always very close
and when he died after Gloria's twelfth birthday she lost
a chum, a confidant and a pal.
Although a successful banker, Mr. Dickerson was a
dreamer and a deep student. He taught Gloria to read
good books, he took her on long fishing trips to the
mountains. There they waded up trout streams in the day
time, and in the long evenings sat before the big open
fireplace where her father read aloud to her — biographies
of famous people, histories, the classics and good plays.
From the time she was a very small girl he instilled
in her mind the fact that she was going to "be someone."
There was never any doubt about it. It was simply a
question of when. He told her over and over, "If you
retain your ideals of good theatre, and keep your feet
on the ground, you will go far." For of course she was
to be an actress. The thought of her future career in-
spired her very name, Thais Alalia.
"But don't write down Alalia," she begged. "No one can
pronounce that. No one could ever pronounce Thais either.
SHE'S NOT
AFRAID
BY FRANC DILLON
In school I answered to any
name that began with a T."
Of course a name like Thais
wouldn't do for pictures, and
Dickerson is too long, so it was
shortened to Dickson and
Gloria was substituted for
Thais. And now everyone who
has seen her act knows that her
father's prediction of stardom
for her was right, for already
she has been assigned a leading
role opposite the popular George
Brent in "Racket Busters."
It was after her father's
death and there was nothing to
keep them in Idaho, that Mrs.
Dickerson brought Gloria and her sister, Doris, to Long
Beach, California. There Gloria attended high school and
graduated in June, 1932. Although she was a good
student, her mind was on acting more than anything else.
She studied everything that pertained to it. She took
an active part in all school theatricals. As a small child
she had already organized the neighbor children and pro-
duced shows in the Dickerson home basement.
After her graduation Gloria joined the Wayside Colony
Players in Long Beach, and there learned the rudiments
of professional acting. With this group she played every-
thing from Shakespeare to modern plays. She did every-
thing she could think of to enlarge her experience. She
gave dramatic readings. She did readings before groups
of club women. She went on the radio and read poetry
to the accompaniment of an organ.
She joined a tent show, the Hart Players, where she
made from seventy-five cents to three dollars a week,
depending on the current business. And although money
was none too plentiful in the Dickerson exchequer, the
salary didn't matter to Gloria {Continued on page 17)
How one girl scaled the Hollywood heights and hung up a new record
MODERN SCREEN
Worlds of i/xifHc Women/
Women beyond the law's reach
. . . living their own lives, fight-
ing their own game . . . each for
HER MAN . . . dark, romantic
Charles Boyer in the year's
most intriguing melodrama.
WALTER lUANGER
CHARLES BOYER
ALGIERS"
SIGRID GURIE
HEDYLAMARR*
L JOSEPH CALLEIA • ALAN HALE .
GENE LOCKHART • NINA KOSHETZ A
^^^^^^ Directed by John Cromwell • Screen play by John Howard ^^^^H
^^^^^^^^ Lawson • Additional by James M. Cain ^^^^^^H
1^^^^^^^^^ thru ^^^^^^^^H
MODERN SCREEN
MODERN SCREEN
Ueater
THAN YOUR GREATEST EXPECTATIONS
.bole"""""**
ou«d»"""' lee*"""*"
06 rW
11
OUTSIDE
one of Holly-
wood's most
popular restau
rants, the Ven-
dome, a huge
crowd gathers daily
to glimpse their
film favorites. \,
Nor are they ever
disappointed, for the
place is overrun with
stars. There are no
"star-days" or special
inducements. No, the
Vendome simply goes in
for awfully good food in
a distinctly masculine at-
mosphere of heavy dark
woodwork, quantities of
edibles on display, a bar on
one side, booths and tables
on the other, and everything
together in one large room
where all can see and be seen.
So, everyone who is anyone
in the cinema citadel stops in
frequently. And all, on hot days,
order salads! The men too? But
definitely, yes ! For when you
serve salads as hearty and delicious V_
as theirs, even the menfolk will go
for them.
Of course we'd all love our own
home-made salads to succeed like those
at the Vendome. And why shouldn't
they ! For here are recipes from the
Vendome's very own chef, together with
some pretty obvious, but frequently
neglected salad tips.
To begin with, according to none other
than Gary Grant, men by and large abhor,
despise and even resent sweet, bland salads
of what they call "sample" size. When the
charming Mr. Grant orders a luncheon salad,
for instance, you can bet your bottom dollar
it will be filling, and have a snappy flavor too.
Such a salad is cole slaw with vegetables which
he's enjoying here in the studio commissary.
Or the Vendome's "Salad Bowl" of greens with
a cheese dressing, or their specialties made with
meat or fish. These are the kind that appeal to
men, says Gary. So save your "pretty pretty"
salads, your airy, creamy, decorative trifles for the
bridge club girls, and give the menfolk something
STARRING
SALADS
BY MARJORIE DEEN
Lure your fnmily's jnded
appetite with these prize
recipes from a famous
restaurant chef
tangy and substantial. And here are a few
pointers to remember :
A contrast of texture adds to salad enjoyment.
So add such things as crisp celery to a smooth
mixture, avocado to a crunchy one, and so
on.
Appearances go a long way in assuring
salad success. The salad plate should
frame as pretty a picture as culinary art
can produce. •
Experiment with your own combinations.
Each chef prides himself on his "Ghef's
Special Salad." Why not evolve one
yourself?
A good salad can be ruined by a poor
dressing. And the dressing of coursr
is never added to salad greens until
just before serving, or better still,
right at the table, as the French do.
Occasionally a salad is "marinated"
in advance, however. One such
recipe is included here. To
"marinate" simply means allow-
ing the ingredients to stand in
the dressing a specified length
of time to bring out the flavor
of some foods.
Suit the dressing, the gar-
nishes and the service to the
salad. Remember that, as
5;, with clothes, you must not
"overdress" if you seek
masculine approval.
'* In restaurants like the
Vendome lettuce is al-
■* lowed to stand fifteen
minutes in a sink par-
, tially filled with cold
" Iter and ice, after
the coarse outer
' leaves, core and any
discolored spots
have been re-
moved. The heads
■ are then thor-
■ oughly drained
in baskets or
colanders be-
fore being placed in
the refrigerator. Whether
or not you follow this excellent
procedure be sure your salad greens
are crisp, cold and absolutely devoid of moisture
before the dressing is added.
With these suggestions and recipes to guide you, why not
12
MODERN SCREEN
plan to "star" salads this summer? Then
watch your friends and family come to the
table with the same keen anticipation with
which the glamor boys and girls flock to
the Vendome for dishes like these.
"STAR" MAYONNAISE MIX
To each cupful of mayonnaise add 2
tablespoons each of chopped chives, chopped
stuffed olives and chopped dill pickles. Just
before serving fold in cup chopped hard-
cooked eggs and cup very crisp chopped
celery.
The Vendome's fish salads are made this
way :
SEA FOOD SALAD, DE LUXE
Such fish as lobster, crab, salmon, tuna
and shrimp, singly or in combination, may
be used. Marinate the fish in a little
French dressing for fifteen minutes. Drain
thoroughly. Excellent to add to the fish at
this point are such things as chopped celery,
chopped watercress, endive, lettuce or
chicory. Also diced cucumber. Moisten
salad well with "Star" Mayonnaise. Place
individual servings in lettuce cups. Gar-
nish attractively with quartered hard-
cooked eggs, minced sweet pickle and shced
stuffed olives.
NORWEGIAN SALAD WITH
DEVILLED EGGS RUNIC
6 hard-cooked eggs
2 cans (3% ounces each) smoked Nor-
wegian sardines
2 teaspoons prepared mustard
2 tablespoons mayonnaise
salt and pepper, to taste
Cut hard-cooked eggs in halves, cross-
wise. Remove and mash yolks. Drain oil
from 1 can sardines. Add drained sardines,
mustard and mayonnaise to mashed yolks.
Mash thoroughly. Add salt and pepper.
Stuff egg whites with this mixture and cut
into thick slices, crosswise. Place slices, in
"twos", on top of potato salad. Drain oil
from second can of sardines. Arrange
three of these sardines on egg slice "pairs"
in fanwise fashion (see illustration). Gar-
nish with sliced stuffed olives.
ROQUEFORT DRESSING.
VENDOME
Yt teaspoon dry mustard
Y2 teaspoon sugar
Y2 teaspoon onion salt
Y2 teaspoon celery salt
Ya teaspoon paprika
Y& teaspoon cayenne
3 tablespoons mild vinegar
cup salad oil
6 tablespoons crumbled Roquefort cheese
2 teaspoons anchovy paste
Ya teaspoon Worcestershire Sauce
3 tablespoons lemon juice
(1 small garlic clove, finely chopped, if
desired.)
Mix together the first six (dry) ingredi-
ents. Then add vinegar and oil alternately.
Place in a jar or bottle which has a tight-
fitting cover. Crumble cheese with a fork.
Beat in anchovy paste. Add Worcester-
shire and lemon juice. Add to ingredients
in jar or bottle. Shake well. Taste and
add more salt and pepper, if needed. Fine-
ly chopped garlic may be added if desired.
Always shake dressing before using.
This dressing is particularly good with
any Salad Bowl of mixed greens such as
endive, watercress, crisp lettuce and ro-
maine. Using these greens as a basis one
can exercise originality through various ad-
ditions such as minced chives, sliced rad-
ishes, "Julienne" strips of raw carrots,
cooked peas, sliced green onions, pearl
onions, chopped celery, hard-cooked eggs,
pimiento and others too numerous to men-
tion. Particularly recommended by the
Vendome chef is the addition of whole an-
chovies to the salad bowl.
jUOY: "He nagged and acted so terribly mean, it sure looked like a
bust-up for a while. I really felt sorry for Jane."
ALICE: "Aw. be fair! Tom raised cain — but so
would you if you always had to go around in
tattle-tale gray. Jane was to blame for using
lazy soap. It left dirt behind! Tom's shirts
and her whole wash showed it,"
SAtlY: "Well, I'm glad the fuss has
all blown overt If we'd only told
Jane sooner how Fels-Naptha's richer
golden soap and lots of naptha hus-
tle out every last speck of dirt — the
whole mess wouldn't have happened."
MARY: "Better late than never!
Since she listened to us and
switched to Fels-Naptha Soap,
everything's peaches again and
they're off for a second honey-
moon!"
COPR. 1936. PELS a CO.
BANISH "TATTLE-TALE GRAY" WITH FELS-NAPTHA SOAP!
NEW ! Great tor washing machines ! Try Fels-Naptha Soap Chips, too !
13
MODERN SCREEN
DANDRUFF?
4 Minute Treatment
Stops Dandruff Itch
And Kills Nasty Scalp Odor
Dandruff is the sign of a diseased,
unclean scalp. Through neglect, the
tiny sebaceous glands (oil glands) fail
to work as they should and become
clogged with scales and dirt. The
scalp becomes infected by germs and
fungi, and the condition spreads.
Skin specialists generally agree that effec-
tive treatment for dandruff must include
(1) regular cleansing of scalp; (2) killing
the germs that spread infection; (3) stimu-
lating circulation of the scalp; (4) lubrica-
tion of scalp to prevent dryness.
The Zonite Antiseptic Scalp
Treatment Does These 4 Things
WHAT TO DO: Massage head for 3 minutes
with this Zonite solution — 2 tablespoons
Zonite to 1 quart of water. Use this same solu-
tion for shampoo with any good soap. Rinse
very thoroughly. If scalp is dry, massage in
any preferred scalp oil. (For complete details
of treatment, read folder in Zonite package.)
It is vitally important to use this treat-
ment regularly f twice every week at first)
to keep dandruff under control and keep
germs from spreading. Because reinfection
constantly takes place from hats, bed-pillows,
combs and brushes.
If you're faithful, you'll be delighted with the
way this treatment leaves your scalp clean and
healthy — free from itch and nasty scalp odor.
At all U. S. and Canadian drug stores.
TRIAL OFFER — For a real trial bottle of Zo-
nite, mailed toyou postpaid, send 10?!toZonite
910 New Brunswick, New Jersey
U. S. A.
v/
, no
ZONITE Is
9.3 Times More Active
than any other popular, non-poisonous
antiseptic— by standard laboratory tests
OUR PUZZLE
1
2
3
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5
18
21
■
22
23
27
28
32
■
58
J
50
51
■
.a
55
5y
60
61
<b¥
■
65
68
72
■
77
85
87
93
■
95
96
101
loz
107
■
i08
122
113
118
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0
9
10
1
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V2
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55
62
66
70
79
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81
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109
119
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■
ACROSS
1. First name of star pictured
7. Jellybean in "Yellow Jack"
12. Last name of 1 Across and star of
"The Crowd Roars"
Heroine in "Four's A Crowd"
Loretta Young's sister
Mrs. John Barrymore
Ignited
Gene Au
Fish eggs
25. "Women Like That"
26. Studio stage
27. Usual
29. trice Lillie
30. Parker
32. "Meet Wolfe"
Anglo-Saxon slave
Require
Fish roe : dial. Eng.
"The Crime of - -. Hallet"
Remained seated
Star of "The Adventures of Robin
Hood"
Exclamation
Mervyn - - Roy
Spider's insect trap
Former Russian rulers
Printer's measures
Kind of tree
"- - - Tide"
"---No. 99"
Greek letter
Movie "palace"
62. Jean in "Four's a Crowd"
64. National theatre chain
65. - - a Merkel
66. Edward - - nold
18.
19.
20.
21.
22.
24.
33.
35.
37.
38.
39.
41.
43.
45.
46.
47.
48.
50.
52.
55.
57.
60.
Answer to Puzzle on Page 82
67. The captain in "Kidnapped"
68. John
70. Our star's favorite actress
72. Witness a iifm
73. Exclamations
74. "Souls at "
75. Beverly Robe - - -
76. Tattered cloth
78. Our star played with her in "Ca-
mille"
83. However
85. Italian river
87. Our: Fr.
89. Worship
90. It is : contr.
91. Glenda - - rrell
93. Death notice
95. Bustle
97. Wing-like parts
99. Anne ley
101. Opposite of mermaid: Var.
103. Young boy
105. Heroine in "Blockade"
107. Native metal
108. "That Certain - - -" is Deanna's
ne.xt
109. Nova beam
no. Aunt: Sp.
111. " Baba Goes to Town"
112. Minority
114. Our star was in " Com-
rades"
116. Treats with nitric acid
118. Anoints
119. Ethal
120. Mme. du Barry in "Marie An-
toinette"
14
MODERN SCREEN
DOWN
10.
11.
12.
13.
14.
15.
16.
17.
23.
25.
28.'
31.
34.
36.
40.
42.
44.
46.
49.
SO.
51.
53.
54.
55.
56.
58.
59.
61.
63.
69.
71.
77.
78.
79.
81.
82.
84.
85.
90.
91.
92^
94.
96.
98.
100.
102.
104.
106.
113.
114.
115.
117.
Young
Sarah in "Little Miss Broadway"
One who bites
- elyn Venable
Hayworth
Mark to shoot at
- - ther Muir
Those who cut hair
American black plum
Our star played with her in
"Broadway Melody of 1938"
Jack Ben - -
Shipworm
Joseph in "Vivacious Lady"
Jane Br - - n
Hard, twisted cotton thread
Henry - '
Film scene made again
"She Had To Say "
High card
" of the Rio Grande"
Icon : var.
Snare
Babe Dani - - «
Encourage
- - y Milland
Possessive pronoun
Woolsey's team-mate
Hero of "Shopworn Angel"
Volume of maps
Coastline
Our star's real name
Wild hogs of New Guinea
Shell fish
Subtle emanations
Vigilant
Bones of the forearms
Reverence
Weep convulsively
Person of Italian descent : slang
Most important harvest of India
Poker stake
Mining chisel
John Mannering in "Letter of In-
troduction"
Cesar - - mero
Grace
N Madison
Russia : abbr.
Our star's alma mater
Star of "Over the Moon"
Places on which movie sets are
built
Partaking of tea : coll.
Nebraska town of our star's birth
George
Star of "The Joy of Living"
" Woman's Answer"
Perform
Hidden supply
Magician : poet.
Scotch direction
Steel track
Ruby Keeler's husband
Tony in "The Show Goes On" :
init.
Ole in "Little Miss Broadway"
Kent - - ylor
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IS
MODERN SCREEN
GOINGS-ON IN GOTHAM
{Continued from page 6)
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Miss De Havilland as sweet and saccharine
as some of the roles she had appeared in.
"What I have put tip with!" OHvia
began. "Why, do you know, with a good
old Shakespearean name like Olivia, every-
one on the lot calls me 'Liver' ! And when
I stepped off the boat in England, what am
I confronted with ? 'De Havilland to wed
title !' Do I look like a girl who wants to
spend her days in a drafty castle, with a
cold in the doze, to say nothing of no good
ole American plumbing? Nope, I'm strict-
ly 'Buy American'. I do love the English
country though, but strictly as a vacation
land — not for a permanent home."
Hope Hampton has left New York and
ensconced herself in a little shack of forty
rooms, out in Beverly Hills. Hope, as you
know, is working on "A Trip to Reno."
She leaves the house each morning by six
and returns by ten at night — sometimes by
nine-thirty, if she hurries ! Before she
leaves California, on completion of her
picture, Hope hopes to get a day off so
that she can go through that house of hers
and see just what it looks like.
CTOPPING away up on Fifth Avenue
^ — 'way up on floor twenty-nine — we
found Claire Trevor. Claire seems in a
mood to finally appreciate F. D.'s urge
for a New Deal. As a matter of fact,
she's by way of getting a new deal for
herself! What with a new contract with
Warners, a new radio spot and a brand
new hubby to boot ! Now you must admit
that this is quite a lot for a little gal to
land in one fell swoop, but not when it's
so well-earned as by the deserving Miss
Trevor. Claire, as you probably know,
received honorable mention by the Acad-
emy of Motion Picture Awards for her
grand job in "Dead End." So now, with
a new lease on movie life, you can look
forward to seeing her become the pride
of all those Warner Brothers out yonder I
Sheila Barrett, the inimitable mimic, has
finally been corralled by the flickers. Yes,
Sheila's to make a series of short subjects
on her return from London. Miss Bar-
rett is to be somewhat of a female Bob
Benchley. Now that in itself warrants three
rousing cheers, but when you hear what
Sheila has decided to do, you'll realize
just what a treat's in store for you.
"I've always liked pictures, but they were
not for me until I found the right sort of
role," Sheila admitted. "I'm no Harlett
O'Scara and certainly I don't intend to be
a threat to Martha Raye ! That's why I
haven't taken advantage of offers before.
"Now that we've hit on this new idea for
a series, I'm pretty pleased, and right
anxious to get started.
"You know, Adela Rogers St. John and
I are working together on the scripts and
we've tried out the first already. They're
all character studies of women you meet.
You know, the gal who says she wants to
reduce, but gets cold feet the minute she
sets eyes on the steam room. Then, there's
the one who shows up for a week-end
believing her hostess really expected her
to come just because she was invited.
After spending the week-end, she discovers
she's in the wrong house and doesn't know
the people after all. And, of course, there's
the girl who goes to buy a new hat and,
after trying on everything in the shop,
picks up her own and decides that is the
one she will buy !"
To be amusing these characters have to
be accurately drawn and Sheila's certainly
the one to do it. Why, she's been doing it
for years, in the town's swankiest night
spots !
She knows all kinds of people and her
insight and observations are keen.
It's to Franciska Goal, this petite Hungarian star, that Bing Crosby
will croon in "Paris Honeymoon," their next picture.
16
MODERN SCREEN
SHE'S NOT AFRAID
{Continued from page 8)
as long as she was gaining dramatic ex-
perience.
Then Gloria learned that she didn't have
to be on relief to work on the Federal
Theatre Project. Immediately she applied
for a job with the Los Angeles group, was
given a try-out and cast as Diane in
"Seventh Heaven." This play ran four
weeks at the Mason Theater in Los An-
geles. Next she played Moonyean in
"Smilin' Through" which ran more than
a month. One thing led to another and
then came the role of Paul Robinson in
"The Devil Passes." Her performance
in that play did the trick.
Casting directors and talent scouts haunt
amateur as well as professional theatres
around Los Angeles in search of new
faces, and a casting director from one of
the big studios saw Gloria in this play.
He was so attracted by her charm and
ability that before the third act he was
backstage making an appointment for her
to have a screen test.
She arrived at the studio late, "because
everything had happened to delay me that
morning," she explained. "And maybe it's
because I'm from Idaho, but I never
hurry." She presented herself at the cast-
ing director's office and before she could
say a word, he sang out, "Hello, Gloria!"
She was somewhat taken aback by the
sudden familiarity, but if that was the
studio way then that should be her way
too, so, with an assumed bravado, she
called back, as pert as you please, "Hello,
Max. How are you?"
That pleased him. Accustomed to in-
terviewing dozens of girls every week, and
able to read beneath the surface, he recog-
nized her sincerity and appreciated the at-
tempt to meet him on his own terms. He
arranged for her screen test, and two days
later Gloria Dixon signed a long-term
contract with that studio.
HER first role in "They Won't Forget"
was a difficult characterization call-
ing for a Southern accent and an actress
thirty years of age, but Gloria came
through with flying colors. It was a great
break for a young, inexperienced girl. Also
it was a task that would have intimidated
many a more experienced actress, but
Gloria is never daunted by difficulties. They
seem to spur her on.
During the months she had appeared in
the Los Angeles Federal Theatre Project
plays she had continued to live in Long
Beach, an hour's ride from the city. Re-
hearsals were called at eight-thirty in the
morning, so Gloria used to rise at six and
was on her way by seven in order to
arrive on time. After rehearsing all day
she appeared in the evening performance,
and never got home before midnight. So
Gloria knew the meaning of hard work
before she ever started in pictures.
She has a tremendous respect for accom-
plishment and a terrific urge to do things
herself. She has mastered the violin,
writes poetry on occasion, enjoys wood
carving and models with clay. She be-
lieves that everyone should have a hobby
and thinks an actress, whose work is
largely niental, should try to create artistic
things with her hands, as a stimulating out-
let. She works incessantly and isn't afraid
to tackle anything.
Gloria isn't nervous when making pic-
tures, even though she has stiff competi-
tion. She admits she might be, sometimes,
if she weren't so lucky in having such un-
derstanding directors.
"I've never been afraid of any part,"
she confides. "I feel that if the people
who give me these roles didn't believe I
could do them, I wouldn't have gotten
them in the first place."
"I'm not afraid of anything, really, ex-
cept of being afraid. And when I feel
fear coming on you can bet I take steps
to do something about it."
Gloria has just married Perc Westmore,
famous Hollywood makeup man, whom she
met her first day on the lot. They are
terribly in love, and very happy, because
they have so many tastes and ideals in
common.
Both Perc and Gloria love to go deep-
sea fishing. They will spend excited
hours playing huge Marlin, Bonita sharks
and other sporting fish. What's more,
they catch them — great big ones. When
these two work they work hard. They
play the same way.
Gloria is only twenty-one but she's al-
ready heading for big roles. And with her
looks, talent and capacity for hard work
w_e_ won't be surprised to see this am-
bitious girl go far.
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17
MODERN SCREEN
Here's an astonisliing fact . . . the days
in an average woman's life when she
needs sanitary protection, add up to five
whole years or more !
That's a lot of days. Every woman
ought to learn to make them easier, more
comfortable days. So— if you are still buy-
ing the same brand of sanitary napkins
you started buying years ago— here's
news you ought to hear . . .
There's something better now ! Modess
— a napkin so much sojter and sajer that
it is bringing new comfort and peace of
mind to millions of women!
Cut a Modess pad in two and examine
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tirely different from the close -packed
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That's why Modess doesn't become stiff
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Now remove the moisture-resistant
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Pour water on it — and you'll see how
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Yet for all its greater comfort and
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IF YOU PREFER A SMALLER, SLIGHTLY NARROWER PAD. SAY "JUNIOR MODESS"
V
18
THE CANDID CAMERA PREVIEWS
SPAWN of the NORTH
Paramount^s Roaring Drama of Atnerica's Last Frontier . . . ,
IT'S a busy day on the big Paramount lot in Hollywood. Director
Henry Hathaway, famous for his ability to hiring the drama of
primitive emotional conflict, of thundering action, to the screen,
is guiding Paramount's "Spawn of the North" through the final
stages of production. On the set are such famous players as
George Raft, Henry Fonda, Dorothy Lamour, Akim Tamiroff, John
Barrymore, Louise Piatt and Lynne Overman. Beautiful Dorothy
Lamour has forsaken her famous tropic sarong for the rough dress,
the laced boots of a daughter of the northern wilds. Raft and
Fonda are wearing oilskins. For "Spawn of the North" is set in
Alaska of 1908, when feud law ruled as brother fought brother,
friend fought friend for the priceless rights to the silver horde . . .
King Salmon.
We ask permission to take a few candid camera shots to show
you pictiire fans. Permission is granted and we snap away. The
results speak for themselves. You can see Henry Hathaway has a
{Continued on next page)
George and Dorothy caught
a clinch.
George Raft mans the harpoon gun, on the prow of his seal boat, t
into a fighting ship for the battle of the salmon grounds
As trie opposing craft comes into range, its decks lined uJith gun-toting battlers,
George lets drive with his deadly missile, foundering the enemy ship.
The candid camera catches George and Dorothy doing
the I90S Alaskan version of the Big Apple.
It s a waltz now with these two hardboiled youngsle
refusing to admit that love really calls the tune.
Alaskan Indians playing the ancient festival music,
tribute to King Salmon who gives them life.
24
Jutt a gtimpse of the thrilling battle ol the salmon trapt. Notice John
Barrymore, ttandinf at the right of the tailor with the tearchlight .
Henry Fonda at left.
picture to rank with his "Trail of the Lonesome Pine," his
"The Lives of a Bengal Lancer." But Paramount Producer
Albert Lewin insists we visit a projeaion room to see the
"rushes" as they come from the big cameras on the set. And
we agree with him that no still shots can half do justice to
"Spawn of the North." For candid camera" shots can't give
the thundering action. They can't give the breadth and the
sweep of this story of America's last frontier of romance.
They can't give the emotional impact of this drama of two
men whose devotion to each other is greater than the fear
of death itself. Nor can they reveal the poignant beauty of
the romance which we believe makes "Spawn of the North"
one of the great women's pictures of the year.
The /ucm««( that of all. Ce
Rafl.Do
id Henry Fonda
ADOLPH ZUKOR prcMnla
SPAWNof the NORTH
STAKRING
T'/ic candid camera tnaps a that of
George and hit pal. Shipper, the
tmarteat Meal in all the Pribiloft.
George RAFT
Henry FONDA . Dorothy LAMOUR
AND FEATURING Akim TaiTiiroff • John Barrymore
Louise Piatt • Lynne Overman
DIRECTED BY HENRY HATHAWAY . PRODUCED BY ALBERT LEWIN
Screen Play by Jules Furthnian • Based on a Story by Barren Willoughby
A PARAMOUNT PICTURE
25
I KNOW that there is no death. There is only one other thing I know as well, and
that is my love for my Ba.by. The only death is in the cutting yourself off from the
one real thing, which is life — and light. There is no death. This year has proven that.
My Baby has shown me that. She came back to prove it to me. A Httle later I shall
try to find words to tell you how she proved it to me.
When you have been so hurt all the way through, it is very easy to go into a dark
place and close the windows and doors and just efface yourself, turning your back on
light and life and people — the things the Baby loves. That is, at first, the one great
desire — to hide.
For the first eleven months after the Baby went away. I was not really here either,
not consciously. I sensed what people said to me and answered them. But I didn't
really hear what they said. I didn't really realize what I said. I went through all of
the motions of living like an automaton. I was in a state of trance.
During all these past months I have stayed here in my little house, 1;he house I
am now leaving, the Baby's pictures all around me, the flowers she loved the best
breathing their love of her. I saw almost no one except Bill Powell, the Baby's
"Poppy," whom she loves so very dearly. I went nowhere. Bill, hoping that a
change might help me, persuaded me to take a sea trip, to go on to New York.
I went to please him, in appreciation of his thought fulness and his gift. For my
trip was his Christmas gift to me. But I took my grief with me and found that
I was more desolate away than I was at home.
I know that my Baby was with me. She had always told me that she would
never leave me, that we had been together many lives before this one and
could never be separated. I felt it. I know it now. But I am still flesh
and blood, still on this plane of consciousness, where the loss of the little
human things, the sight of her, the touch of her, the sound of her voice,
the ability to do the little every day things for her mean so deeply,
terribly much to me.
When my Baby was here, every day was a new, a thrilling ex-
perience to me. Every day, when the Baby was here, I would
think, "Well, hurrary, here's another day I can do something for
my Baby." You see, there wasn't a moment of her life that I
didn't know that she was my sunshine, my life, my world;
not an hour that I wasn't actually throbbing with joy
that I had that Baby. No human being ever got more
joy out of doing just the every day things than I
got out of doing them for the Bunny. I loved
jL^^ taking care of her personal things, keeping
MgP^F w every littlest thing of hers exquisite and
fresh and dainty. Marketing was
ki
re
an.
I h.
thi%
night
take .
exquis
Now
I knew
she has
for her
of the wc
And I
Modern S
felt gratituc
been directe
shall {Contv.
i
i
n
.ill
'ay
ast
*nts,
my
:auli-
.pug-
.rds or
/ were
voars."
le five of
it picture
out actors
ird in my
every other
.round. One
/ho had done
jw Bob would
X. "They're all
Bob doesn't know the meaning of tem-
perament or self-pity. And he has no
illusions about fame, either.
right at rough-and-tumble stuff, but they'd be sunk up
against a boxer. Why, they wouldn't last three rounds
with Taylor. He's the best amateur boxer this town has
ever turned out."
I repeat, if I hadn't heard it myself, I wouldn't have
believed it. These weren't press-agents. They weren't
critics, neither were they connoisseurs of acting. They
! were prize-fighters, experts in boxing. And Taylor not
i only rated with them, he rated tops.
j They fell to talking about what actors might give him
1 some competition in the ring. The last I heard, just be-
I fore Bob arrived and got a big greeting from the boys,
they had agreed that the only three capable of giving him
' a boxing bout were (surprise!) Chester Morris, George
O'Brien and Pat O'Brien.
Except for the fact that he was a bit browner, Bob
didn't look any diflferent from what he had the last time
we met, during "Three Comrades."
I "Why? Should I look different?" he inquired, in the
I next breath asking the waitress, "What's good to-day?"
She answered, "Well, there's corned beef hash on the
j menu, Mr. Taylor." I said, "I hear you're not only play-
ing a boxer but that you actually are one."
He grinned sardonically, as much as to say, "The press-
agents have got to you, too, poor guy." What he actually
Maureen C Sullivan furnishes plenty of
love interest in Bob's fight picture, "The
Crowd Roars."
said was, "I'll take corned beef hash, with a side dish of
mashed potatoes and gravy. How about you?"
The waitress departed and I continued, "Did you ever
do any boxing before; in college, or anywhere?"
"Nope," he said, reaching for a hard roll. "They didn't
have any boxing coach at Pomona when I was there."
"Then how did you pick it up so fast ?"
He swallowed a chunk of roll and said, "I had to. This
picture's an expose of the fight game, behind-the-scenes
stuff. I couldn't just go through the motions, just do the
old left-right. I had to know something about the tricks
of boxing. And I had to pick 'em up fast.
"Johnny Indrisano coached me. Johnny used to be a
very good fighter. He was never a champ, but he's beaten
champs in non-title matches. He knows his stuff, and how
to put it across. He gave me plenty, working from nine
to six, fourteen days in a row."
"After those fourteen days, did you feel more like mak-
ing a picture or taking a rest cure ?"
Bob grinned. "After the training for 'A Yank at
Oxford,' this wasn't so bad. This was concentrated on
just one thing. And I was in condition to start with,
thank Heaven, from gym work and horseback riding.
At that moment, I noticed his right thumb, twice the
size of the other and as rigid {Continued on page 81)
29
THE PROJECTION room was plushy dark. A handtul
of us were watching the rushes of "Jezebel." Bette Davis
and Director Willy Wyler sat in the front row. And
Bette, as Jezebel, insinuated herself across the screen, as
subtle as sin. Suddenly Bette let out a yelp that splintered
the silence. She shrieked, "The homeliest face — I have
the homeliest face I've ever seen!" Director Wyler
whispered fiercely, "I'll never let you see the rushes again,
young woman, never! "
The rushes over, Bette walked across the lot to the
Green Room in sullen silence. She looked as though she
had just witnessed a major catastrophe and might never
recover from the effects.
At luncheon I said, "You didn't really mean it?"
"I did too," snapped Bette. "I can't bear my face.
I can't stand it 1"
"Oh, come," I said, considering the blue of the Davis
eyes, the fine-textured skin, the mobile mouth, the pale
gold hair, "oh, come off it. Your eyes are . . ."
"They are vile," stormed Bette. "They bulge like a bull-
frogs. I detest them. My neck is long, like an ostrich's.
I am the living image of the original drawings of Alice
A "glamorized" Bette with Henry Fonda in
"Jezebel."
in 'Alice in Wonderland.' If you want to know what I
look like to myself, think of the drawings of Alice with
the telescope neck and the bulging eyes and the long, limp
light hair, and you'll see Davis as she sees herself. When
they were preparing to make 'Alice in Wonderland'
a few years ago, I wrote letters pleading with them to let
me play Alice. I went into details about my bulgy eyes,
my long neck. I told them they couldn't miss on me. They
thought I was being funny.
"If I could only look in the mirror one fine day and find
something else reflected there! I know that's impossible,
and so," said Bette, "I ignore the whole thing. I never
look in the mirror except when I am on the set and one
of the things is stuck under my nose every half hour and
I think, ohmigod, do I have to look at that again ! Other-
wise, I never look at myself, but never. I've never owned
a compact. I do my hair without looking in the mirror.
I put on lipstick without looking in a mirror. Funny
thing, it's a family trait. My grandmother did her long
hair for fifty years without ever using a mirror. My
mother does the same thing. So do I, but with me it's
more than a family trait. It's also the instinct of self-
Bette with her adored husband, Harmon
Nelson — "Ham" to her.
preservation. I am entirely serious when I say that I have
one of the homeliest faces I have ever seen. I can't bear it."
"Your mouth," I suggested, "your figure?"
"I loathe my mouth," wailed Bette. "My mouth," she
continued scornfully, twisting it into such contortions as
made it look as though she would twist it right off her
face, "my mouth is horrible. It resembles, of ail despicable
things, a small rosebud. It is ineffectual, meaningless,
skimpy. You should sec it without lipstick ! You couldn't
see it. I simply daul) it with lipstick to make it look larger.
I never look at it until after I've- put the lipstick on. I
hate my mouth. My figure ? Well, I'll never understand
how I'm on the screen at all. I have about as much sex
appeal as a pelican!"
"You must hand yourself something," I said. "You
can't be so completely biased or no one will believe what
you say. You must like something about yourself."
"I can't help whether anyone believes me or not," said
Bette, a little less violently, "though why people shouldn't
believe me, I don't know. I always tell the truth and sliame
every devil. And I am entirely honest when I tell you
that I have one of the homeliest {Continued on page ^2)
31
i
tired" and "weary"
I know. I've just
'WAY BACK in his Oklahoma days, Gene Autry wrote a
song called "Cowboy's Heaven" with a pal, Frankie
Marvin. Maybe you've heard it. It's a cowboy classic.
The first four lines go :
"Tonight I'm a tired, weary cowboy —
I've been in the saddle all day —
Searching the hills and the valleys
For cattle that strayed away ..."
Gene still sings it that way. But if he weren't so gosh-
darned modest, he could sing it something like this :
"Tonight I'm a tired, weary cowboy —
I've been in the saddle all day — ■
Riding some scenic locations
For movies that pay and pay ,
He wouldn't be human if he weren't
at the end of one of his working days,
been on location with him.
He's human, all right. Samuel Goldwyn recently sa,id,
'"judging by the popularity of Snow White and Charlie
McCarthy, people are tired of looking at people." But
Sam overlooked Gene Autry. Gene receives forty
thousand fan letters a month — an all-time Hollywood
record for any player. And his pictures pay and pay —
everybody except Gene.
He was making only $5,000 per picture, on a contract
that called for eight a year, when last winter he asked
for a new arrangement. $40,000 a year doesn't go very
far when you spend $2,000 a month just answering fan
mail, and sending out photographs that have been asked
for. Besides all that. Gene has a stable to keep up,
you know.
Another studio oflfered Gene $100,000 to make a dude-
ranch picture with Shirley Temple, but his own studio
wouldn't let- him do it. Neither would they give him a
raise, so Gene calmly boarded a train and set out on a per-
sonal appearance tour.
Everywhere he went he was mobbed. He broke theatre
records. He was earning better than $3,000 a week. At
that rate, his studio had visions of never getting him back
They got an injunction, halting his tour.
That, however, didn't bring Gene to his knees. He still
said, "No raise, no work." Desperately, his studio tried
to replace him. They pushed a former bit player into a
picture which Gene had been scheduled to make. (Mean-
while, amazed congressmen were receiving letters, urging
them to pass a law to keep Gene in pictures ! They for-
warded the letters to him.) En masse exhibitors demanded
Autry pictures. He and the studio had to call a truce.
He agreed to do two more pictures at the old salary, after
which, the studio agreed, his contract would be rewritten.
So here I found him, back at work after five months,
niaking a picture called "Gold Mine in the Sky."
To celebrate his return, his studio was spending two
weeks on the picture — with ten days on location. (Once
upon a time. Gene made, whole pictures in less than ten
days.) The setting for this one was a wooded, lush-green
valley, 7800 feet up Tahquitz Mountain in the San Jacinto
range, a hundred and fifty miles from Hollywood. There's
scenic mountain country nearer Hollywood, but, as Gene
says, "it's wore out from too much use."
The company operated out of Tahquitz Lodge, a big
log lodge, surrounded by smaller cabins, all in a grove of
tall pines, looking out over a vast mountain meadow where
deer graze and wild creatures prowl at night.
GENE'S TWO-ROOM, two-bed cabin was atop some
big stones up which steps had been chiseled. Theoretically,
he had stellar isolation. Actually, he hadn't. With the
camp crowded, the star was sharing not only his cabin, but
also his bed, with some of the hired hands. The pal who
shared his bed complained, "Gene's like a pinto that ain't
])een broke yet. He like to kicked me to death last night."
Even when he's asleep, apparently, Gene is a man
of action. Awake, there's no doubt about it. On location
he's up at four-thirty a. m., is eating breakfast at five,
on his way to the day's film site by six, and making his
first scene by six-thirty. He works till the light begins to
fade, around five-thirty p. m., with only an hour out for
noonday mess. He's in practically every scene, and "take"
follows "take" in rapid-fire order.
At seven a. m., he may be .stunting on his dark-chestnut
horse. Champion. (And, as a stunt rider, he's practically
four horsemen in one.) At eight a. m.. he may be strum-
ming a guitar, singing a love song to the heroine (the
closest he comes, usually, to a love scene). At nine he
may be bantering with Smiley Burnette, his comical two-
hundred and fifty pound side-kick. Whatever the scene,
at any hour of the day Gene is ready for it. That's why
he's a hero even to the men who work with him.
He eats a man-size dinner, then {Continued on page 74)
33
XA/HEK, 1^ "^^"n cam^ ^'""^tU 1 talked with
^ M to the screen, sne ^^til 1 ^^essmg-
^"itdn't know bow a ^,^,,ing-room a d
because f ^;\noW ^^frUve not the
t would or could bve-uigs you-^not
Sthe contrary. 1 , my eyes, i t«,ty. 1
roVa:tcr*le energy f,,«.ed
Sue Then, at the e „oma 1 « ^ound
^^suf Xtre --STsta-s' When
,rnder bappy Intolerable. us
ffoSS.sj;|;e-nt^««-wonMntdo.
in tbe room Wit
X made the ^ ^^-^^^^
adi-T^rr Then 1 hadher i a» used to
S**"- nSrird^^ that fir.
^rine ^''r Si asked nte wha J ^ without aU the
yJSt^„r^£rTr:l^^
<S s pother cnnon^^^^ ^„
there Is no tm^^" ^ou an^ ^Vvear, and
you know _ having ^oti ^^lat 1 .Viow,
^aTprecious. .„ ,v,p one greJ
that ehUdren f f *C4?me.
PEOPLE SAY, too, th^. ^ find^t ° ,„„,e,
Station ».|"t chMren ^-Wey hurt «e
I '»'=f rd rShelp »e'";To °ro« «as
btit they d-d ^^outges to s^ „j course^
Thev ^ete -"^ , mme- tne ^ r ^^at sne '
^S? loss as ^^^:\"^onsdousne^^^^^^^ He
a= 'jtS trough *ejf^„twing £ve
vVof ?e^Vi
^ reason {or it, oi reason , ^^elieve
some reaso ^^^t. ino ^ <^°'^^„ie who
' ^ ' ... re-nmin
S y travehng a'onc^.;^ oi habrts r. „ j g . ^ ^„ tacm.,
NOTHING SUCCEEDS like success, and nothing flops
like it, either. And that's the thing that Wayne (Kid
Galahad) Morris is afraid of. Wayne has been called one
of the overnight successes of the last few years, but he has
too often heard of what happens to overnight successes on
that dreary morning after, to think that it is all just one
glorious fun-spree. At hale and hearty twenty-three his
inclinations are naturally to the fun side. "But darn it all,"
as he himself has said, gazing six feet and two inches
away at the second largest pair of feet in Hollywood,
propped up on a chair in front of him^ "a fellow's got to
say 'whoa' sometime, and I guess it's about time I said it !
Being an actor is a responsibility, and I'm just now be-
ginning to realize it."
The realization came not so many weeks ago when
Wayne was assigned to do the young lead in the Techni-
color "Valley of the Giants." In the beginning Wayne had
the vague idea that he had probably been chosen for the
"Giant" picture because of his aforementioned six-feet-
two. But then he learned that the "Giants" were the giant
red-woods of California's northern forests, and that the
story was no hastily cooked up dish, either. He also dis-
covered that this story had been filmed twice before, once
in 1919 with the great Wally Reid, and again in 1927 with
Milton Sills. Now here was he, a "punk," as he calls him-
self, about to embark in the same role, and expected — yea,
ordered — to follow in such glorious footsteps.
"That buffaloed me, and on top of it I learned that the
studio was prepared to spend over a million dollars on
the production. Now when nobody expects you to amount
to anything, and by some strange twist it turns out that
the fans like you, then that's one thing. But when they
expect you to do something, and then you don't ! Well, you
can see why I haven't been sleeping quite as peacefully
as I used to."
But before insomnia takes too much of a toll, we have
something to say to you, Mr. Wayne Morris — ^ warning.
The question is, should you change, and go from a light-
hearted boy to a serious actor? An actor has to keep on
studying, that's true. There are some actors, like Paul
Muni, whose forte lies in studied acting, but there are
others, like you, whose greatest charm lies in their own
very natural personalities. If you do begin to take this
business seriously, and suddenly find yourself with great
ambitions, at least we hope you'll keep a charming
balance between your serious side and the ef-
fervescent twenty-three-year-old youth
who is such a great part of
your appeal. We
Does Morris realize tliat a career easily gained may be just as easily lost?
have seen some of that youth in action, and we know how
it clicks with the public.
There were several very vital and refreshing scenes
which occurred while Wayne was on location with the
"Valley of the Giants" company in the timber country
near Eureka, California, recently. A day after he arrived
there, Wayne, the collegiate part of him, was standing in
the middle of a junk yard, looking around for a car. He
spied a 1923 sedan that still had all wheels intact, and
he, thought that would do. The junk dealer wanted twenty
dollars, so Wayne bought it at once. At that point the junk
dealer didn't know who Wayne was, nor that he also had a
powerful big roadster at home in Hollywood. He thought
Wayne was just one of the local poor boys. He still
thought so days later when he saw Wayne, with about
fifteen others in the sedan, tearing around the town. Brakes
screaming, dust flying, they skidded to a stop at first one
drug store, then another, piling out each time to refresh
themselves at the soda fountain. They honked the horn
incessantly and then drowned its aged sound with their own
very boyish and hilarious laughter.
IT WASN'T until the second week that someone
tipped off the junk dealer as to who Wayne really was. It
was a delightful surprise. The junk dealer told his young
son, who told his buddies, and from then on Wayne was
hounded by kids screaming for autographs. He gave them
too — by the hundreds. The kids followed him everywhere,
even to work. At noontime, the wisest of them stood close
behind in the studio lunch wagon and the man in charge
of the counter never could understand where so many of
his sandwiches disappeared to. Heck, Wayne could conceal
three sandwiches in those oversized paws of his, and in this
way they were passed along to the lunchtime kid-kibitzers.
AH this wasn't exactly what you would call dignified
star-behavior, but its very spontaneity was exactly what
made it so delightful. In everything that Wayne does there
is this quality, accompanied by that impetuous boyish
grin. It's because he has put this into his
screen roles that he has been such an
instant success. Yet while
his success has
seemed instant to us, it wasn't quite that simple for him.
Nor was "Kid Galahad" Wayne's first picture, as many
l^eople suppose. Wayne tells it this way :
"While I was studying at the Pasadena Community
Playhouse, a Hollywood casting director spotted me and
gave me a fifty-dollar-a-week contract with a three months'
option. My first role was a bit in 'China Clipper.' I had
a close-up, and I was supposed to have one speaking line,
which I worked on for days, but they cut that out! 'Polo
Joe' was the next. In it I had another line, and fortunately
that one stayed. And that was my talking debut on the
screen. Later I heard that the studio had bought 'Kid
Galahad.'
"I had read the story and was crazy to do it. So right
then and there I did a little press-agenting for myself.
The first person I went to see was the writer who was
working on the script. I gave him a sales talk, but he
looked as though he thought I was crazy. So then I went
to the producer. I told him, too, that I was the fellow who
could do it. He didn't know me either, wouldn't even
believe I was a contract player until he called the front
office to check up. They all thought I was nuts, but I kept
after it. Then, more to shut me up than anything, they
gave me a test. Well, I looked all right as a prize-fighter,
it seems, but they still didn't want to take a chance on me
in such a big picture, so they put me in another one, 'The
Kid Comes Back.' Only the kid was just starting then.
I was awfully green, but they liked it anyway, so they
decided to let me do 'Kid Galahad,' and hold the first
picture until later. In between those two I also made a
couple of other pictures, and in both of those I was
supposed to be the comedian. So you see it wasn't
quite such a Cinderella success as some
people think. I had had a little
(Cont'd on page. 76)
His mother is mighty
proud of Wayne's fast rise
to the top of the ladder.
Left, Wayne makes love
to Priscilla Lane in "Men
Are Such Fools "
■
Janet's success hasn't been accidental. It's been
carefully planned.
lanet, her
mother and
"a friend"
doing the
b e a c h at
Waikiki.
Everybody
happy? Well,
yes I
THE ONLY thing in this world you're sure of
is what's inside yourself. That's what you have
to live with. So why not make the best of it?"
It was Janet Gaynor talking. Not preaching.
Not leaning from a height to proffer gobbets of
wisdom. The words had been drawn from her
by persistent questioning. Hearing them, I felt
that they held the heart of her mystery.
For her mystery is a legend. "Talk about
glamor girls," says Hollywood. "They're trans-
parent compared with little Gaynor. What does
she like ? How does she spend her time ? Wliom
does she see? Tyrone Power and Margaret
Lindsay. Yes, we know they're her friends.
But that's all we do know."
I learned a little more when I went to see
her — not much. I'd heard a story, for example,
of the night she went to the preview of
"A Star is Born." Her mother had elected to
stay at home and listen to the broadcast. Janet
came down in a black chiffon dress and a white
corded silk jacket. She touched the orchid in
her hair. Like a girl going to her first dance, she
pirouetted for the approval of the company,
then came to a graceful halt.
"Look, kids. See anything different about
me? Don't you see anything?" Sorry, not a
thing. She fluttered her lashes at them. "Well,
of course, for the first time in my life I wear
false eyelashes, and I don't get a tumble. Never
mind. I'll make an impression yet. I'll blink
them at the first producer I meet in the lobby —
and they'll fall right off."
Then there was her trip east to attend the
President's Birthday Ball. Her studio's pub-
licity director presented various schemes by
which they might grab space in the newspapers.
38
He hoped she might agree to one of his milder ideas.
"For instance, you could auction off your dances. That
would be dignified, wouldn't it — with the money going to
the President's .Birthday Fund?"
"Yes," chuckled Janet. "And I could also turn somer-
saults. But you know perfectly well I won't do either."
She'd agreed to go to the ball as a guest, not a publicity-
seeker. As a guest she went. That the President of
the United States should have smiled as she danced by,
should have murmured, "She's cute as a button," was
just her publicity agent's good luck. The story hit every
front page in the country. But that didn't in any way
alter Janet's position in the situation.
She lives in a rented house, which alone provides food
for speculation. Moreover, the house lies not in the hills
of Beverly or Bel-air, but in the heart of town. Unless
you were looking for it, you wouldn't see it, hidden behind
a mass of tangled greenery.
You follow a drive to a rambling structure of gray
shingles and dormer windows, nestled under sweei)ing
pepper branches. So dense is the foliage that your first
impression is one of undisciplined profusion. There's
no landscaped formality to trees or shrubs, yet a second
glance reveals how cunningly they've been trained to keeji
all their own beauty without shutting out the beauty of
sunlight and shadows.
You enter a room that presents no striking effects. It's
the kind of room you might have grown up in, if your
background was one of middle class comfort. Nothing
obtrudes itself. You're aware only that the chairs invite
you to sit in them, that the pictures were hung, not by
decree of an interior decorator, but because of dear
associations, that the fire on the hearth strikes dancing
lights and shadows from a burnished brass wood scuttle.
It's a welcoming room. It seems to bid you relax.
SO DOES its mistress. She comes in, a slight, redheaded
figure in slacks. Her brown eyes, clear as a brook, are
both frank and kindly. Her manner is unaffectedly simple.
Her smallness, her heart-shaped face, her dimpled chin,
a gentleness about her, suggest the childish and the cling-
ing. As she talks, that impression vanishes. Little by
little, it's borne in upon you that Janet stands securely
on her own feet, that she's achieved a maturity of outlook
which has nothing to do with years.
She's apart from Hollywood only in that she doesn't
follow the pattern. She doesn't feel superior to it. She
lives her life in greater material comfort, but otherwise
as she would have lived it if she'd never seen Hollywood.
She spends her time seeing people she likes, doing things
she enjoys. It's as simple as that.
She laughed at the notion of herself as a woman of
mystery. "I know. Everyone thinks I'm remote. And
it's funny, because I love Hollywood so. I'd rather live
here than any place else in the world. H I'm not seen
about much with movie people, (Continued on page 97)
39
IN MY HOUSE," said Joan, "we are women without
men. We are, litei'ally, eight women without men — and
it's wonderful ! There is myself, the two children, the
children's nurse, my house guest, the three maids. Eight
women and — a super-efficient burglar alarm ! I haven't
even a butler in the house. I do have a chauffeur but he
is 'outside help.' I found that when I had a butler, there
was always trouble in the house. Either one or more of
the maids would fall in love with him and there would
be trouble. Or "they wouldn't fall in love with him, and
then there would be another kind of trouble.
"And so now, except for dates and guests, we are women
without men, and it works like a charm. Life is as peace-
ful as a perpetual Armistice Day. I feel relaxed for the
first time in my life. I am completely content.
"I have two supreme ambitions. The first is my hope
that I may bring the children up to be nice young women,
charming mentally, physically, socially. If I fail in this,
I will indeed have failed. If I succeed, I shall have
achieved the success I care about the most. . My other
ambition centers in my work. And I think that if I give
all of myself to these ambitions which are, in a way, one,
I will be giving just about all that I have to give."
I said then, more bluntly than tactfully, I fear, "Well,
but- you'll be getting married again one of these days,
surely ?"
"I will not," said Joan firmly. "Not for a great many
years." She added, "Why should I ?" .
Joan was saying, "I have my children. I have my
home. I have my work. I have my friends. I can see
no earthly reason why I should marry again. Love ? Pos-
sibly. But I am out of my teens. I have been married
twice. Both times for 'love.' And so love is not likely
to come to me like a storm again, sweeping me off my
feet. I have been married twice and unsuccessfully. You
can't go on interminably playing with trial and error,
cause and effect. That's stupid.
"I like working out my own life. I believe that marriage
is wrong for women who are economically independent.
At best, it is difficult. For, when a woman has a career
of her own, earns her own money, the balance of power
is upset. The very fact that she is such a woman makes
her think like a man, gives her the dictator complex.
"I have the dictator complex," smiled Joan. "I've often
been told that I'm a dictator in crepe de chine, but I never
would admit it before. I didn't like the taste of it. Now
I do admit it. Now I am free. Now I can be a dictator,
comfortably, without stepping on anyone's toes, offending
anyone's pride. Now I am the head of my own household,
the arbiter of my own destiny, my own woman. And
I love it. Now I am a matriarch."
I LAUGHED. A figure less like the popular conception
of a matriarch could not possibly be imagined. This young-
est of the Bennetts is so gentle, everything about her so
fastidious, so almost excessively feminine that she deceives
you. You have to look closely to perceive that there is a
small steel hand beneath the lace mitt, a masterful meticu-
lous brain beneath that cap of shining gold hair. You
have, to remember that the Joan who adores perfumes and
jewels and furs is also competent to balance household
budgets and business ledgers (and does), loves to fly, goes
to the races, disciplines her children as a Spartan mother
must have done.
"You know," Joan was saying, "the definition of a ma-
triach reads : 'A woman holding a position analogous
to that of a^ patriarch in a family or tribe.' The definition
of a matriarchy reads: 'The {Continued on page 88)
HE'D RATHER be himself than a
couple of other fellows, even if those
two were that madly adored and
highly pictorial pair, Robert Taylor
and Tyrone Power.
Not that Hollywood's brand-new
Britisher, Richard Greene, feels a bit
above 'imself, as they sniff at 'ome.
L^wks, no ! Nor is he that affectedly
casual English actor who might airily
remark, "I'd heard about Hollywood,
so I thought I'd just pop over and see
what it was all about, y'know."
This ever-Greene boy (woodman,
spare that pun ! ) who went right to
work here making love to Loretta
Young in "Four Men and a Prayer"
— if you can call that work — is re-
freshingly simple and modest, espe-
cially for a young stranger heralded
as Taylor and Power rolled into one.
"It is a great compliment," he gra-
ciously acknowledged, "but I'd rather
be myself, thank you."
He is. For this handsome six-
footer from over the sea is definitely
an individual. As regards his double
fagade he is far more like Taylor than
Power, and huskier than the two of
them together. Indeed, he is the one
English importation since Ronald
Colman to bring virility to the Ameri-
can screen, so much so that he
promises one day to step into the
seven-league boots of that admirable
and enduring veteran.
Surely the British picture produc-
ers must have been dozing over their
afternoon tea when they let this
strapping lad get away from them.
Aside from his own no mean charm,
this lusty newcomer has the charm
of novelty. He is more than wel-
come, if only by way of contrast to
the English actors, narrow of shoul-
der, flat of chest, and spindly of
shank, we've been getting these many
long-suffering years. It is not too
much to say, perhaps, that American
audiences want something more than
cup-and-saucer balancers.
Then there's the appalling situation
in which our more or less healthy ac-
tresses find themselves with these
ethereal drawing-room performers.
Milady of Hollywood no sooner risks
physical comparison with one of them
in a scene than she remembers lines
which have nothing whatever to do
with the script, whereupon she de-
spairingly rushes home and hits the
old diet a new wallop.
BUT IN Mr. Greene, a sound piece
of British young manhood put sound-
ly together, there is hope for the
starving. The hope might upon occa-
sion even assume the proportions of
a square meal. Playing opposite him
should be gratefully reassuring to the
Hollywood actress who has not com-
pletely lost her taste for food. For
once she could be herself, just as he
prefers to be himself.
"So far as I can see," he protested,
"my only resemblance to Taylor is
that I've got a 'widow's peak.' Tay-
lor has darker eyes than niy greeny-
gray ones. Of course, we both have
dimples, but I can't do anything about
my face. Until I came over hei^e, I
wasn't even conscious that I had the
damn things." {Cont'd on page 90)
Richard likes American girls,
movies and motor cars, and hopes
he can spend the rest of his life with
all of them.
Be -HimsUlf
Is that Bob Taylor? Or is it Ty Power?
No, it's Richard Greene himself, thank you!
'7uni So!
'It's for crmateurs
to be bashful, not
for me!" states
Olympe, who's
been acting since
she was a year
and a half old.
Olympe Bradna's never been kissed?
Well, don't you believe it!
OF COURSE it isn't so," Olympe Bradna stated em-
phatically. "I have been many times kissed! Why, it's
part of my job of acting. I think it's all so silly. As if
anyone cares whether I've been kissed, or ever will be !
Someone in the publicity started it and they should have
told me first, then I would have said, 'I have many times
kissed.' You know, they asked me to cooperate, but how
can I when every time I get off the train newsmen ask
that same silly question. 'Is it true, Miss Bradna, that
your first and only kiss was in "Stolen Heaven?" ' I am
sick of it I tell you !
"And, do you know what some writer said? That I
was so temperamental I wouldn't do the kissing scene till
everyone left the set. How ridiculous ! Would a prize
fighter refuse to knock out his opponent until nobody
looked? Of course not! It's his job. Mine is to act, so
I do whatever the part calls for.
"As for temperamental people, I hate them. Another
thing, it's for amateurs to be Imshful, not for me. I've
been acting since I was a year and a half old. My family
were professional people long before my time, even back
to when the Louis' ruled France, so there's nothing strange
about it to me. I am very much at home on the stage."
All this in one burst of good ole Americanase, too. In
case you're under the impression tliat Olympe Bradna,
charming Frenchie, has trouble with her languages, calm
your fears. She's as adept as you or I when it comes to
English — never at a loss for words. In fact, she's quite
an opinionated young lady !
It took only one routine question to get her going !
When we inquired if sJic sang in 'Stolen Heaven,' or had
a voice dubbed in for her, she was oiT to a flying start —
though definitely evasive.
"Well, I can sing, but I don't like it. What I want to
do is dance. Ballet and lots of it! I love dancing,"
Olympe exclaimed, brown eyes sparkling. "You know,
I've studied dancing since I was so big. I studied singing,
too, for three years. Of all my teachers I think I like my
latest best of all. He's John McCormick. He is so sweet
and we get along fine, but even so, I like ballet better.
Some day I'll do all ])al]et and be very happy, just you
wait and see," she added mischievously.
We'll wait to see, but certainly not as a member of the
Doubting Thomas Club! For if {Continued on page 89)
43
i
i
Ucfi fuse
I WOULD BE willing to wager a small
sum that the most frequently-asked
question about the movie belles is this :
are they as beautiful off the screen as
they are on ? The answer can't be one
simple unadorned yes or no. Most of
them are not as gudgeons when you
meet them on the street as they are when
you see them on the screen. With very
few exceptions, that is true. However,
that's all beside our pernt. Our pernt is that these movie stars
— most of them just average, good-looking gals, with personality
and allure eking out their modicum of beauty — have learned to
utilize their best points so that you are never conscious of their
bad ones. Never, that is, until the candid camera fiend catches
them in an off moment.
As you can see for yourself by ye candids on this page,
movie stars can look silly, unglamorous or tacky as the case may
be, even as you and I, when they're caught in these unposed off
moments. Of course, we all know that these candid camera enthu-
siasts spend their lives hiding in trees and things solely for the purpose
of catching the famous when the famous ain't looking their best.
We're not meaning to be nasty in contrasting the funny pictures of
your favorites with the pretty ones. We jus' wanna show yuh, that's all.
"Well, how am I going to make the most of my good
points?" you ask. "How am I going to minimize my
bad points? Maybe I haven't a good point!" To the
last, I say phooey. Everyone has at least one good
point. Even if you haven't one single good feature to
your name, you can manufacture a "good point" out of
personality, out of freshness, neatness, sweetness and
chic. And then, of course, there's make-up, that bless-
ing of disguise for modern womanhood.
44
Natural shots
of herself are
Carole Lom-
bard's delight.
In fact, the wild-
er they are the
better she likes
them!
Even Greta
Garbo relaxes
once in awhile,
and shows us
her bad points.
Now will you be-
lieve there's hope
for everyone'
Loretta with glam-
or— hair perfectly
groomed and
every feature
showing to great-
est advantage.
Ginger's eyes
are her good
feature. Simple
but effective
make-up accen-
tuates them.
Take lessons from the stars,
who know how to make the
most of their own good points
Carole knows
she can look
this way when
she wants to
just by using a
few tried and
true beauty
tricks.
Sit down and consider your eyes and
mouth. The eyes or the mouth — or
both — are the best places to start wlien
you wisli to glamorize a face. Ginger
Rogers' eyes are her one good — really
good — feature. For the rest, Ginger is
pert and cute and she has a darling
figure, but her other features are undis-
tinguished, even as yours and yours and
yours. Garbo's extraordinarily clever
eye make-up is what really sets her face apart.
Look yourself right in the eye and consider what you can do to
make those eyes more lovely. First, the brows — how are they?
If they're heavy, that's fine, provided there are no stray hairs
giving the l)row line an untidy look. Are your eyes a little too
close together? There are all kinds of fancy measurements for
determining whether eyes are too close together or not; but you
know perfectly well you can tell by simply looking in the mirror.
Well, if they are, go ahead and pluck a few hairs, very carefully,
from tlie inner side of tlie eyebrows. Take some shadow — -lirown if
your skin is dark, blue or gray if your skin is fair — and blend it into
the outer side of the eyelid. Take a soft eyebrow pencil and lengthen
your brows at the outer side less than an eighth of an inch — no more,
for more will look artificial. These tricks will make your eyes look
bigger and brighter.
Do your brows grow too close to your eyes? Wash
your face with warm water and soap and rinse with
plenty of water, and while the brows are damp, brush
them up vigorously with a small brush. Line them up,
top-side, with the little brush so that they don't look
shaggy. Then brush a little oil or cream onto them while
they're raised so, and take some mascara — not a i)encil
— and make them up a little if {Continued on page 103)
45
The extraordi-
narily clever
eye make-up
used by Garbo
emphasizes the
beautiful struc-
ture of her ex-
pressive face.
e Wanis 4^
"I want to put away enough
money," says Slim, "so that I can
lo(3f and be unknown."
IN AN EXTRAORDINARILY tall, thin
house bv the sea lives an extraordinarily
tall, thin man by the name of George
Somerville. You know him as Slim
SummerviUe. Only you don't know him at
all. You just think you do.
He lives, George Somerville, not Slim
SummerviUe, all the year 'round m this
house by the sea, wedged in between other
seashore houses, at Hermosa Beach. Most
of the time his five-year-old adopted son,
Elhott, is with him. Also, his dog,
"Troubles." He never goes anywhere. Ex-
cept for his original trek around the coun-
try when he was in his teens, he never has
been anywhere. He has lived in Hollywood
for twenty-four years, and has never been
to the Troc' in his life, never to the Brown
Derby, never attended a premiere nor even
a party He has never been to New York
in his life. Nor to Europe. Doesn't want
to go Doesn't want to do anything, not
even think, more than is literally necessary.
He seldom goes to the movies, George
Somerville. He hasn't seen even his own
latest pictures. He's never heard Garbo
talk The last time he saw her was when
she made a picture with John Gilbert. The
only recent pictures he has seen are those
starring Clark Gable and Spencer Tracy.
He Hkes Gable and Tracy, thinks he must
"make an effort" to see "Test Pilot
pretty soon because of Clark and Spence.
There is a neighborhood theatre less than ^
three blocks away from Slim's tall, thin :j
house with the pea-green painted door.
His pictures are shown there, but, im
too lazy to go," says Slim. His dad goes,
and tells Slim how he did.
He reads murder mysteries. They re-
quire the minimum of mental effort. He s
never opened a volume of Shakespeare or
Dickens, a tome of philosophy or psychol-
ogy in his life, and never will. He listens
to the radio, because it doesn't require any
exertion. His dad turns the dials for him.
And Slim can doze without being rude to
the invisible entertainers. He fishes. His
huge living room is stacked with fishing rods
of all sorts. There are, also, large trays of
cigarettes and huge dishes of salt water
taffy strewn about, but no books. There is
a framed photograph of the boy, Elliott.
Slim fishes for days on end. He doesn t
swim. "Too lazy to swim," he says, "but
I wade around quite fancy." He has no pals
among the picture people. He plays golf
occasionally with Bing Crosby, Andy Ue-
vine and Dick Arlen. They are silent men
like himself. When a picture is finished
he has his own unique method of relaxa-
tion. He charters {Continued on page 99)
Here is Slim and his new bride,
"Brownie." She was once his
nurse, and now —
Slim advocates the "mak-
ing oneself scarce" theory
46
"I'd like to be gay ctnd
witty in picttires, but
they always hand me
an old hyena role,
and I keep right on
barking," says Miss
Oliver.
"I've been stage-
struck ever since I
was your size," con-
fides Miss Oliver to
Miss Temple. "I bet
you could act, too,"
Shirley admires.
IT TAKES nerve to call on her.
First of all, she lives miles away
in the country. Then, reaching
the little white house on the hill,
with its green lawn climbing up
from a white picket fence, you
face barred gates, and are con-
fronted with a sign reading, "Be-
ware Police Dog!"
That stops you. What to do ? You, an utter stranger,
don't like to stand in the middle of the road and yell,
"Edna! Edna May! Oh, Edna May Oliver!"
Perish the thought ! So you survey the hazardous situa-
tion. What might have been taken for rural peace now
strikes you as ominous silence. The detective in you,
without stirring a foot, discovers that beside the closed
garage stands a car. And under its rumble seat undoubtedly
there crouches a bloodthirsty beast, ready to leap out and
tear you coat from pants.
Come, come, man ! That yard must be crossed, even as
the Rubicon. But your tortured imagination conjures up
still another vision, that of a Betsey Trotwood in sports
clothes, flying out at you and beating you off as she would
those luckless donkey-boys in "David Copperfield." Drat
the thing! Manfully you unbar the gates and stride
through with all the outward assurance of an irrepres-
sible Armenian rug-pedler.
Quaint. On the door, and
poHshed right up to its handle,
is a brass knocker vaguely
reminiscent of dear old New
England. You lift it — not with-
out the lurking dread of a swift
and savage rear attack. Knock,
knock. The door is opened by a
smiling housekeeper. Hers is the most beautiful face you
could ever wish to gaze upon, serene and aglow with wel-
come. "Miss Oliver," her voice as lovely as herself, "is
expecting you. Come in."
Yet, left cringing on the edge of your chair in the living-
room, you again give way to that helpless feeling of not
knowing what may come on four feet before your hostess
arrives. From where you sit you glimpse the music-room
and cast a furtive glance at the grand piano lest it be a
dog-house in disguise.
Presently your twitching ear catches a nameless rustle
in the hall. Thank heaven ! It is Edna May Oliver in
the flesh— what there is of it. Tall, gracious, distinguished
in black and white kimono and silver and black slippers,
Hollywood's finest character actress stands before you.
But she is not in character. Unlike her brusque screen
image, she is all kindliness, {Continued on page Wl)
Edna May Oliver reluctantly admits that her bark is worse than her hite
Green satin leaves are appliqued on the skirt
and shoulder straps of this delectable dance
frock worn by Simone Simon in "Josette." Its
skirt is of white silk net, the bodice of soft
green satin. Always right for the ingenue type.
Lightweight wool tweed fashions Ginger Rogers'
practical two-piece suit of burgandy flecked with
the same blue that is inset in the broad shoul-
dered jacket. Its sleeves and back are cut on
the bias. The smart hat is a black sailor.
TO SPARKLE in sleek sophistication, or to ingenue in
wide-eyed ruffles ! That is the sartorial question, answered,
at least cinematically, in the current crop of pictures.
Apparently each type is devastating to the susceptible male,
so decide on your own particular aura, and choose your
wardrobe weapons accordingly.
Both sides of the debate are eflfectively presented in
Warner's "Gold Diggers in Paris." Rosemary Lane con-
fines her wardrobe to girlish simplicity to win Rudy Vallee,
and Gloria Dickson does all right with various other
gentlemen, in exaggerated slinky gowns.
Nearly all of Miss Lane's evening things bow to young
modesty with some sort of shoulder swathing. One has
a swirling skirt and fitted sparkling bodice cut rather low,
but draped with a cowled sheer cape. A diagonally striped
chiffon has shoulder strap clips for its only decoration. A
white satin with built up skirt and inverted "v" bodice has
a chiffon scarf caught with a clip at the throat. A floor
length matching satin cape, square shouldered, tops this
gown.
For the street, Miss Lane wears a trim bell boy top coat
buttoned tightly to the waist, and falling free to reveal a
slim skirt in redingote effect. A military looking visor hat
completes the picture. Miss Lane chooses a peasant print
dirndl with high waisted skirt and full sleeved guimpe for
a backstage scene. The dirndl, that boon to the young and
slim (but very trying to ladies whose only lines are in
their faces) has made a permanent place for itself in the
fashion firmament.
Miss Dickson wears a spectacular cross two-skin scarf
on two occasions. Once, the scarf tops a long sleeved black
gown shirred from the high neck to well below the waist,
where the skirt is released in fi-ont fulness. Accessories for
this outfit are a wide belt with huge metal buckle and a
tiny pill box hat.
Another shirred bodice gown for Miss Dickson has a
wide lame belt and high cone turban crushed in at the top.
A huge rhinestone clip and flower corsage at the high neck
are effective accents on a black sequin gown.
Royer has cunningly combined the little girl with the
"going places" effect in Simone Simon's "Josette" ward-
robe. Boxy jacketed pajamas with a round necked black
Basque sweater, very young, serve as a boating outfit. Still
in the girlish division are a box jacket suit with white vest
and wide white revers, and a white swing skirt frock with
black vest and a slim coat worn with plaid ascot and the
merest dot of a beret.
At which point Miss Simon becomes a night club enter-
tainer and she and her wardrobe both go to town. How-
ever, this young star combines a childish quality with a
serene poise, making her adaptable to either type of gown.
Tiny leaves form the drop {Continued on page 85)
48
ifHS
Richness of material
combines with de-
mure youthful flattery
in Margaret Sulla-
van's silver gown
with its uneven cape.
She wore this one in
"Three Comrades."
ASK ANY Hollywood star
what the average life of a player
in the movies is and he'll
answer, "About five years ; ten,
with luck!" .
Jean Hersholt is proof perfect that they're all fib-
bing ! That is, fibbing in a way ! For, Jean Hersholt
has been under contract for twenty-five years out
thar, with only a three-week lay oflf in all that time.
Now you must admit that that is somewhat of a
record.
Another little item in the way of records is his
collection of Hans Christian Andersen works. Re-
cently Hersholt unearthed eleven unpublished manu-
scripts which make his collection the finest in the
world. Prior to this discovery, the National Danish
Museum had the edge on everybody, but with this
new find, Hersholt's tops them all.
Among Jean Hersholt's several claims to fame is
that he is probably the only male star to play with
five leading ladies at one and the same time, none of
whom fight over billing ! Yes, and what's more,
he has rated two return engage-
ments with a possible third
before school's called. We
refer to those five famous
Frenchies — the Dionne Quintuplets.
"This time I go to Callander with real excite-
ment," Hersholt began. "You see, the last time I
worked with the Quints, they were not yet what
you might call average children. That is, with babies
born as they were, it takes time to catch up with
the ordinary child of their own age. I saw them a
couple of weeks ago and you'd hardly believe they
were the same little tots of two years ago. Why,
they're as smart as whips and every one of them is
just as bright as a dollar.
"They know how alike they are, and try to fool
you. I asked them which was Marie and with a
mischievous twinkle in their eyes, each one said,
'Me !' When they get a new nurse, they try to
fool her by mixing their things up a bit. All their
clothes are initialed, so when the nurse comes in,
Marie or Emilie or Annette {Continued on page 102^
Did you say an actor can't last? Jean's celebrating his silver jubilee!
With all the grace and confi-
dence you'd expect of a champ,
Sonja trips airily onto the court
ready for action.
Stmc
Alice Marble and oil others had
better look to their laurels now
that Sonja's entered the field —
for this gal has a way with her.
53
i
Tiememif€/k
After twelve years, The Sheik comes
back, OS beloved as always. Here are
the highlights in his career. 1. Rudy
with Nita Naldi in "Blood and Sand."
2. With Ian McLaren in "Monsieur Beau-
caire." 3. With Vilma Banky in "Son
of the Sheik." 4. With Gloria Swanson
in "Beyond the Rocks." 5. Modern
Screen pays tribute to a great artist.
m
54
Lily Pons says "yes" to Andre Kostelcmetr.
orchestra leader, in a surprise svimmer wed-
ding at her Connecticut estate.
Not Jtdiet but Lily looking over the small
group of guests tor a special "catch" to re-
ceive her coveted bridal muiU
Gladys Swarthout, left, and Grace Moore get
in a few hasty good wishes before the fa-
mous bride and groom tcike off.
The Robert Youngs arrive at the
famed Trocadero.
Here they are seated with Irene Hervey and Allan Jones who
are married — or did you know?
r
"Bergoot Vm !n ndsery— bat I'm not sick
miougAi lor this!" Chodo McCortliy pro-
tests as Edgar tdfees him to the hoqpHal.
"Well soon see what's eating Tou," the
surgeon assores McCar&y as he probes
under CSiarlie's bark to see i^idi pains him*
During the operation. Edgar Bergen,
Charlie's best friend qnd soTwrest critic,
paoM file fioor, onxiouMY awaiting news.
Baffled by the strange aUment, the surgeon
says. Tour pulse is 1041" "That's good,"
says McCarthy. "When it hits 105. seUl"
Now, with squeaks and termites remored,
and a few gadgets grafted on his limbs.
ChorUe receiTes floral greetings.
Bob Taylor, Bccbs Stanwyck and
her adopted son, Dion, at the
Horseshow. Ranchers Bob and
Bdhs both exhibited horses.
the Hifti€i
Is the Stars' favorite pastime—
especially when their own perform
A couple of bookies? No, my
pets, it's Harold Lloyd and Pat
O'Brien picking the winners —
they hope!
60
The Hollywood Turf Club, the town's newest racing plant,
opened recently with everyone present but Bing Crosby and the
sun. Bing had to work, and the sun was evidently spending the
day in Florida. The track, bigger than Santa Anita but not as
beautiful, took in $500,000 from 40,000 customers on opening day,
and this is considered good, even in Hollywood. Main feature
is an indoor paddock and thirty-six bars, where winners can cele-
brate, and the other 39,000 can work out their alibis.
The indoor paddock is an innovation with a real Hollywood touch,
located in the grand stand, it is surrounded bf several tiers of stand-
ing room," where the celebrities can watdi the horses before they
go to the back, and vice versa. On opening d<f^ the ioUowing con-
versation, not verified, was reported. Seabiscuit: "Isn't that Carole
Lombard up there in the third row?" War Admiral: "Yes, and I just
saw Claudette Colbert and Barbara Stanwyck. You may not believe
it. but I'm as nervous as a colt!"
Gene Autry is the most up-to-date cowboy in all HoUjrwood.
Reason is that he now possesses a "saddle radio." The thing was
designed by Gene's cousin, Raymond Priddy. The set fits in one
saddle bag, and the batteries in another. AnH they say Gene's
horse, Champion, is quite fond of the new contraption, and enjoys
every program — with the possible exception of "The Lone Ranger."
The I. W. Rubenses (she's Virginia Bruce) and
the John Barrymores, right, see "Alexander."
Newest romance in town is the George Brent-Merle Oberon two-
some. They mode their first public appearance at the "Victoria
Regina" opening, in company with Jimmy Stewart and Norma
Shearer. The Shearer-Stewart combination has no romantic leanings.
They've been good friends for some time.
On the set of "Josette" Director Allan JDwan halted proceedings,
turned to Joan Davis and said, "You know, it would help consid-
erably if you read your script." "I know," said Davis, "but if I
read the script it spoils everything for me when I go. to see the
picture."
With a convention in town and Helen Hayes oi>ening in "Victoria
Regina," mobs of people showed up outside the Biltmore Theatre to
watch the stars. Many oi the minor players in "Victoria Regina"
stood out front until the last minute just to get a glimpse of the stars
who were coming to watch them. When Janet Gaynor arrived with
Tyrone Power the crowd closed in on them, and Mr. P. and an un-
identified stranger had to hold them off until Gaynor rushed inside
the theatre.
Humphrey explained, for one of Kay's exes, Kenneth McKenna,
and Humphrey's ex, Mary Phillips, have just been married. A
romance between Kay and Humphrey would make things even
cosier, but Kay's still got the baron on her mind and Humphrey's
marrying Mayo Methot in August, just as soon as her divorce
becomes final.
Out on "The Sisters" set. Anita Louise was having a terrific time.
It was in a scene with Bette Davis, and Anita kept blowing up on
her lines. At first it was thought that a crowd of visiting Shriners
was the cause, but later Anita said she didn't even notice the fezes.
Being in a scene with Bette, whom she ardently admires, was caus-
ing all the jitters.
Our More-Dani-Fun editor, just back from a scurry through
the society columns of a Hollywood paper, reports the high times
and gay goings-on at a party given by the Gene Raymonds. The
evening ended, according to the paper, with everyone "trying to
whistle a tune after eating soda crackers." That's a dandy way
to end almost any party.
Can anyone tie Don Ameche's record? He spent his college career
in four colleges, and wound up a junior! The four schools are Colum-
Johnny Weissmuller reached the semi-finals in the golf tourna-
ment out at Lakeside. Ruby Keeler's at it again out there, too,
after a year's vacation from golf. And Clark Gable's taking les-
sons every day — this being a sport he hasn't tackled with much
interest heretofore. The reason seems to be that Carole Lombard
can't see it for dust. Many of the stars are expert at more than one
outdoor sport. Tennis, golf, riding and swimming top the list of
favorites, with polo a close runner-up. They're a clever lot —
these players.
The lady in the Hungarian wrap is Ilona Massey;
the gent in the tux, Michael Whalen.
bus College in Iowa, Marquette in Milwaukee, George Washington
in Washington, D. C, and the University of Wisconsin at Madison.
And Don insists he left each one of them of his own accord — no
special requests.
•
Kay Francis and Humphrey Bogart have struck up a close
friendship on the set ,of their picture. "Just a nice family feelifig,"
Here is Joe Penner with wife, but without duck,
at the premiere.
Fronchot Tone doesn't forget the little woman when away on a
fishing jaunt. While on that trip with his father and brother back in
the White Mountains he took time out to express a mess of trout, on
dry ice. to his hard-working Hollywood wife. Each fish was named
after a character she's played in pictures.
•
Out on the "Head Over Heels" set, Olivia dc Havilland was
63
Alice Faye, "Alexcmder's" heroine, rates both
Richard Greene and htibby, Tony Martin.
Constance Bennett feat\iring a bird of paradise
feather and Gilbert Roland.
having the time of her life. All mussed up, with stockings down,
smudges on her clothes and face, hair snarled up, she told us she
was never happier than looking like this, and hoped the script
would call for a few more fights with Dick Powell. Dick is still
wondering just how she meant that statement.
Una Merkel was pleasanllr surprised the other niqht at the
Ice Follies when a group oi kids surrounded her and de-
manded her autograph. She was all set to sign when one oi
the youngsters said. "Gee. t wish we could see you skote
sometime. Miss Henie." Una. who has never been closer to
ice than a good cold lemonade, signed anTwoy.
Two years ago when an ice carnival played Hollywood Its co-
stars were Jack Dunn and Sonia Henie. Dunn, the hit oi the show,
was immediately signed by one studio. Miss Henie was placed
under contract by another one. and you know what happened to her.
Dunn stayed for a year, drew a salcoy. and never got before a
camera. Then he left thot studio, went to a new one. ond the same
story repeated itself. At the moment, however, he's octually work-
ing. The picture, "The Duke oi West Point," wiD be released soon,
and if it's successful theyll f<^ow it by starring young Mr. Dunn in
"The Life of Rudolph Valentino." o story based on the career of the
Great Lover of the silent screen.
Holljrwood's a strange town ! Bob Taylor, who only a year ago
was billed as "beautiful" by his studio, is now a prize-fighter in "The
Crowd Roars." Sigrid Gurie, the alleged Fjlash from the Fjords
of Norway, admits that Brooklyn is dearer to her heart than Oslo.
Luise Rainer, who has played a wife in every picture she has
made, thinks the role is oat of character in real life. And Mike
Romanoff, the phoney prince, was jerked out of the cast of "Ellis
Island," where he was portraying himself, because Darryl Zanuck
didn't think he looked phoney enough.
Max Baer is back at Metro, but tlus time he's making a short The
other day a friend asked him whom he was going to battle in the
picture. Said Max. "A couple oi guys Bob Taylor softened up for
me in 'The Crowd Rocm.' "
Jane Withers is wearing makeup for the first time. In
her recent picture it fell to the lot of Carmencita Johnson,
Jane's long and true friend, to haul off and sock her. All
for art, figured Carmencita, and she did a good job of it.
The shiner was so glossy that the next day make-up men
had to do a little retouching on it.
Bazooka Boy Makes Good: Bob Bums, reporting his
income in court recently, revealed that in 1937 he mode
$400,000. He also revealed that in 1934. only three
years before, his total take was $1500. Quite a difier-
ence, you must admit.
Maybe Charlie Middleton isn't too familiar to you
as a name, but every kid in the neighborhood knows
him. He plays that meanie dog-catcher in all the
"Penrod and Sam" films. Other day he got out of
his car on Hollywood Boulevard and was sur-
rounded by jeering yoiuigsters. Charlie thought
he'd prove his heart of gold and his good intentions
by taking them into a comer drugstore for sodas.
They stopped hissing long enough to gulp the sodas,
then took off. When Charlie came out he found
all the air gone from bis tires.
Good Deed Dept. : When Joan Crawford appeared on a recent
radio show she received a $5,000 check for her work. Instead of
banking it, she turned the money over to the Motion Picture Relief
Fund, where it will be used to help needy extras.
64
Jean Hersholt is consUering the possibility of suing Shirley
Temple for aUenation of affections. Arriving in Callander this time
for "Five oi a Kind," he found conditions changed from his lost visit.
1 65
I
Before, he was Ihe movie star uriiose ptetures cdways hung on
the nursery waUs, and the quints gove him their undivided attention
besides. Now he says Shirley's pictures adorn the wa'Is and tiie
quints can be iound gazing at her likeness right in the middle of a
conversation with him.
On the set of "Suez" we joined a group talking to Tyrone Power
between "takes." Tyrone was showing everyone a picture he had
just received from a fan. It showed Tyrone Power, Sr., at the
height of his stage career, with Mrs. Power and Tyrone, Jr.
Power, Sr., had written across it, "This is my finest production."
Evidently the studio plans to moke a
dude out of Wayne Morris — or perhaps
it's o direct reverse of the technique ^
once- used with Bob Taylor. At any
rate, Morris, who usually ploys he-
mannish roles on the screen, has been
ordered by his studio to spruce up o
bit when he's not working. Studio ex-
ecutive eyebrows have been raised
several &nes when Wayne showed up
ot previews sporting a sweot shirt.
Freddie Bartholo-
mew is taller than
Aunt Cissie these
nights — a good ex-
cuse to step out.
They' are searching for a young man to play the lead in "Golden
Boy," and have just issued the requirements. The eventual Golden
Boy, according to the studio, must have a head like Tyrone Power
or Errol Flynn, eyes like Tyrone Power or Charles Boyer, a nose
like Gary Grant or Wayne Morris, a chin and mouth like Robert
Taylor or Franchot Tone, the courage of a prize-fighter and the
soul of a violinist. Note to the studio : You're looking for Maxie
Rosenbloom.
The lady and gentlemen farmers of San Fernando Valley all turned
out for the recent Valley Fiesta and Horseshow. Among the proud
owners and exhibitors were Clark Gable. Carole Lombard, Bob Tay-
lor and Barbara Stanwyck. Taylor's and Goble's horses each won
several events, but the item of the day was that Barbara Stanwyck's
odopted son. Dion, appectred in public for the first time with his
mother and Bob Taylor.
Questions-Without- Answers Depart-
ment: What prominent male star is a
regular patron at a Hollywood beauty
shop? He goes there because the locks
women movie patrons swoon over need
a twice-monthly marcel.
Our youngest diva,
Deonna Durbin, at-
tends with the Jim-
my Walltngtons, of
radio fame.
If you don't think picture dialogue has improved in the lost few
years toke a look at fte revival of "The Sheik," one of RndoliA
Valentino's most successful films. In one scene, after Valentino has
kidnopped Agnes Ayres ond brought her to his boudoir, she osks,
"Why did you bring me here?" Valentino replies, "Are you not
woman enough to know?" And when Walter Long, the villoin, has
captured Mxss Ayres. he orders one of his men to bring her to him.
and to see that his current mistress is kept out of the way. Soys
Long: "Fetch me the white gazelle — and guord closely fiie ieolous
one." ■
That house Jimmy Stewart and John Swope just finished build-
ing cost them $5,000 apiece. It's strictly bachelor's quarters, but
they have an agreement. First one to get married has an option
on the other's half of the house. If the little woman likes the place,
the unwed co-owner takes his $5,000 and moves out.
There wen much hemming and haw-
ing on opening day of the Hollywood
Turf Club when people noticed Bruce
Cabot with Barbara Stanwyck. One
local columnist even onnounced a rift in
the Taylor-Stanwyck romance. What hap-
pened was that Taylor had to work and
couldn't go to the track that day, so Bar-
boro and Zeppo Marx, who shore o box
at the Club, asked Cabot to foin them.
Cloudette Colbert,
back from Europe
and lovelier than
ever, with hubby.
Dr. Joel Pressman.
66
MODERN SCREEN
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'OR YEARS we have been
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But now, in addition, it brings to the
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Use Pond's Cold Cream in your usual
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Most People don't know
these Facts about Vitamin A
and the Skin . . .
First Published Reports
In 1931 and 1933, deficiency of Vitamin A ("skin-
vitamin") was first recognized as the cause of
specific skin disorders. In the cases reported, a
liberal Vitamin A diet made the dry, roughened
skin smooth and healthy again. Later reports
confirmed and extended the evidence of this.
In hospitals, other scientists found that Vita-
min A ("skin-vitamin") applied to the skin
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Tests with Pond's Creams
Experiments were made concerning possible causes of
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I. Dietary — The skin may lose "skin-vitamin" from
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II. Local — Our experiments also indicated that even
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water. This irritation was then treated by applying the
"skin-vitamin." The skin became smooth and healthy
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All of these tests were carried out on the skin of ani-
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Even today it is not commonly known that the skin
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when "skin-vitamin" is applied to skin which already
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The Role of the "Skin-Vitamin"
The "skin-vitamin" functions like an architect in
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the maintenance of skin health. When the skin is seri-
ously deficient in the supply of this vitamin, the skin
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Sif^ns which may indicate
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Dryness, Roughness, Scaliness resulting in a Dull Ap-
pearance.
Copyright, 1938, Pond's E.^tract Company
67
f
★★★The Rage °^ ''"f «„. .0
„d Miss D"'iy"H;,«.ri. M«to A"e'
Most of the foo^aje 1^^^^ i|Xr -Unn'<^«a/.
in every ^^^^^J^ected by Henry Koster.
executive. Uireci
Blockade siock
, . ,,,e wWch should S:SVi°f\^,rur'^^^^^^^
A good Pi'^'^"''^,„ melodrama, even I 5 nish ^'^.^.'^^ ^.^d one
ad^ offers first;da-n-^^
spoken and i^ar ^ it is a brave beautiful
^^^"1^'Tbe talked about ^^^la ^^u^- f menry Fonda .
-iSsTory'lor the P-^a ^-est soldier^ it
spy ^^^tn"?cS[n?iUents does it at ,,„petent al;
though Miss CarroU s sc^ree^^P^^^,,, as m ^
SJl^^rScally ^-^^In J^^i^
T^nsstn-s musical score is ^^^^^^....^am^
Keep Sm-.r.ng
, ...:.v, redoubled
*** Keep „e«.„spi-'e
^,1 red meat mui-i- « ny^ood ana withers
The story this " . g^al on the • ipally Gloria o ^ii^oxon is
tl can go .ab°^*„e of ^ '""u^ WeT when they teas^ ^^^^^
7a^nl^V-it/.Vit in - ,^trgais set their head ^^^^^ ^enry.
o her adored un -. Rum "^f^^^cl^.^rT^"'- r,,,
from then o?^^^%t Leeds.-20fh C
^Directed by ^ei^^ Reviews on poq
BY LEO TOWNSEND
68
MODERN SCREEN
, »t>AR«'^^^ „e crepe-
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eve-
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p.eate<i;„,,,..e.-P^^BX..
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69
MOVIE REVIEWS
(Continued from page 68)
'irk Josette
This is one of those light and frothy
numbers, the enjoyment of which depends
entirely on your mood. On the credit side
it has two first-rate performances by Bob
Young and Don Ameche, and it presents
Simone Simon in a role more suitable to
her own particular talent — the ability to
look and act extremely unsophisticated.
Ameche and Young, partners in a fish
cannery, are trying to save their frivolous
father from the clutches of a singer, whom
they know only as Josette. The old re-
liable mistaken identity theme is introduced,
and they are given to believe Simone is the
villainness of the piece. The mademoiselle,
not knowing this, falls in love with Ameche,
and he, of course, thinks she's after him for
his money. In the course of all this, there
are several bright moments and enough
good gags to make the picture fairly enter-
taining and amusing.
Gordon and Revel have written two
songs, both of which are probably much
better than the treatment Simone gives
them. Her voice is small but adequate,
but her accent is still so unruly that it's
impossible to understand the lyrics. Evi-
dently they were about love. Joan Davis,
Bert Lahr, Paul Hurst and William Col-
lier, Sr., turn in able performances in the
supporting cast. Allan Dwan directed. —
20th Century-Fox.
"irk Cowboy From Brooklyn
Full of "Yippees" and a "Howdy,
stranger" or two, this film capitalizes on
the current vogue for Westerns by offering
a broad burlesque of all that's generally
held sacred in the average horse opera.
The hero, for instance, is Dick Powell, a
maverick if the West ever saw one. To
make matters worse, he's a crooner from
Brooklyn, in the cow country only because
he's stranded there on his way to Holly-
wood. Landing a job at a dude ranch, he
is "discovered" by a New York theatrical
agent who changes his name to Wyoming
Steve Gibson and whisks him back to
dear old Broadway.
Some audiences will find "Cowboy From
Brooklyn" overboard on farce, while those
who expect nothing subtle will enjoy it
David Niven, Loretta Young
and Joel McCrea supply plenty
of triangle situations in "Three
Blind Mice."
70
immensely. Funniest sequence is the one in
which Wyoming Steve, who is allergic to
animals, is hypnotized into winning a bull-
dogging contest in a Madison Square Gar-
den rodeo.
Dick Powell's role is a stretch on the
imagination, but the rest of the cast fares
better. Priscilla Lane is excellent as the
dude rancher's daughter, Pat O'Brien fur-
nishes top-notch comedy as the theatrical
agent, and Dick Foran gets laughs as the
Western heavy. The supporting cast is also
very good. Directed by Lloyd Bacon.—
Warner Brothers.
'k'k You and Me
A "Crime Doesn't Pay" story told by
unusual methods, "You and Me" is an in-
teresting picture, but its sombre theme will
keep it from winning much audience favor.
There are no long stretches of dialogue,
for the camera tells as much of the story
as possible, and the film moves along with
speed and punch.
Background of the picture is a department
store, where George Raft and Sylvia
Sidney are clerks. Both are paroled con-
victs. They fall in love and marry. Raft's
old gang wants him to return to crime, but
he refuses. Later he learns about his wife's
past, and in a blind rage gives up all his
good intentions and rejoins the gang.
They're caught in an attempted robbery
and given a graphic lesson on why crime
pays no dividends.
Director Lang employs off-stage voices
and other unusual devices to hammer over
his point, but there are spots in the picture
where audiences will doubt the effectiveness
of his methods, especially in the scene
where Raft's gang speaks in chorus. Per-
formances by Raft and Miss Sidney are
expert, and there are fine supporting roles
by Harry Carey, Barton MacLane and
Vera Gordon. "You and Me" was directed
by Fritz Lang. — Paramount.
'k^ Three Blind Mice
When three sisters, one in search of a
millionaire and the other two simply looking
for good husbands, leave their Kansas
chicken farm to try their luck' you can be
reasonably certain that the fortune hunter
marries a poor but handsome collar ad,
and her two sisters wind up with million-
aires. It's all supposed to prove that life
is a pretty funny proposition, and that what
Loretta Young really wanted was not
money but love.
The sisters (Loretta Young, Pauline
Moore and Marjorie Weaver) pool $5,000
and go to Santa Barbara, where Loretta
poses as a wealthy society girl, with Miss
Moore and Miss Weaver as her secretary
and her maid. When it turns out that Joel
McCrea, with whom she has fallen in love,
has no money she promptly gets herself
engaged to David Niven, who has. True
love conquers her lust for gold in the last
reel and she marries AlcCrea, turning
Niven over to Pauline Moore. Marjorie
Weaver, in the meantime, has married a
bartender (Stuart Erwin) who turns out —
surprise ! — to be a millionaire.
"Three Blind Mice" is acceptable enter-
tainment, but suffers because its characters
are all so phoney. Only exception is Binnie
Barnes, who plays Niven's sister. She is
an amiable toper who wanders through the
picture contributing many of its brightest
and funniest moments. William Seiter
directed. — 20th Century-Fo.v.
*★ Lord Jeff
There's nothing new or startling in this
one. It's hokum, and it's all been done
before, but it has lots of audience appeal.
The story follows the pattern laid down by
"Captains Courageous." This time Freddie
Bartholomew is once more a snob, and a
pain in the neck to most of his young col-
leagues at a British nautical school. To
make matters worse, young Mr. Bartholo-
mew is also a member of a gang of jewel
thieves._ But a year at school and associa-
tion with such guys as Mickey Rooney
bring out the good in the villainous young
man, and everything ends up happily.
Performances are splendid throughout.
Freddie Bartholomew, considerably taller
than when ypu last saw him, proves he is
still one of the best juvenile actors in the
business, and Mickey Rooney turns in an-
other of his finished and very professional
performances. A new youngster named
Terry Kilburn, however, walks off with
most of the acting honors, and starts off on
what will surely be an auspicious screen
career. Charles Coburn, Herbert Mundin
and Gale Sondergaard head a competent
cast of supporting players. Sam Wood
directed.— M-G-7lf.
Having Wonderful Tinne
On the stage, "Having Wonderful Time"
was a smash hit, a tragi -comedy about the
Bronx, and a tired little stenographer who
spent her two-week vacation at Kamp
Karefree in the Catskills, hoping to get
away from the drab pattern of every-day
life. In the picture version they've taken
the Bronx out of it, and judging from the
result, the Bronx must have been the heart
and soul of the play.
As Teddy Shaw, the stenographer. Gin-
ger Rogers is as plausible as the script
allows her to be. She handles expertly
both her dramatic and comedy moments.
Douglas Fairbanks, Jr., as a waiter at
Kamp Karefree, also struggles valiantly
against bad casting, but his clipped English
accent belies the picture's supposition that
he is a young lawyer from the Bronx.
Lucille Ball is excellent. So is Lee
Bowman, and in fact all of the supporting
cast. Alfred Santell directed.— i?ii:C>-
Radio.
Extra! Mickey Rooney saves
Freddie Bartholomew from be-
ing a snob — in their new
movie, "Lord Jeff."
MODERN SCREEN
'Don't tear up the snapshots
of that boy you re mad at'L
says DOROTHY DIX, famous adviser on life and marriage
Y
OUTH AND LOVE are both im-
pulsive. How many times I have
heard the story of a sudden lovers'
quarrel, marriage to someone else —
and then regret.
"It needn't happen. Suppose you
do have a quarrel. Instead of rushing
home and destroying the mementos
of your association together, save these
reminders. Be sure to save the snap-
shots you have made of your young
man. This is most important, for noth-
ing else will so rekindle your lost feeling.
"You may start going with some-
one else. But before you decide to
marry, take out the snapshots of the
one from whom you parted in anger,
and look at them earnestly. They may
save you from a decision that would
bring sorrow all through life."
* * *
Whether you're expert or inexperienced
— for day-in and day-out picture mak-
ing— use Kodak Verichrome Film for
surer results. Double-coated by a special
process — it takes care of reasonable ex-
posure errors — increases your ability to
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else is "just as good." And certainly
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it always . . . Eastman Kodak Com-
pany, Rochester, N. Y.
71
Accept nothing but
the film in the familiar
yellow box— Kodak Film—
which only Eastman mokes
LOVE COMES ONCE
(Continued from page 34)
know that I have got to face it alone.
"Perhaps I am not spiritual enough to
be willing to wait for a reunion in the
other world. I want Irving here, with me,
as he was. I know that we will meet again
in the other world. I do have that belief.
But it does not console me for the years
we have lost together here on earth.
"It is because I think the world is such
a beautiful place," Norma said gently,
"that I want him here to share it with
me. When the one you love is with you
the world is beautiful and kind. When
that one is gone the world should stop be-
ing beautiful, because its very beauties
make your heart ache.
"People say that it is the ones who
are left we should be sorry for, not the
ones who are gone. That isn't true for
me, either. It is not for myself that I
grieve, but for him. Perhaps I feel this
so keenly because he loved life so. Know-
ing how he loved it, how can I help but
suffer for him who has so early been taken
away from everything that he loved?"
'"["^HIS very honesty, I thought, may be
1 Norma's healing in the end.
"I don't want to sound morbid," Norma
repeated, "nor dramatic. And yet how can
anyone be anything but dramatic about
the three great arteries of life, birth, love
and death ? How else can I tell the truth of
what I feel? And I think it is right for
me to tell it now. For months, I coulcln^t
tell people. Stories were written. I didn't
bother to contradict them.
"Irving taught me," Norma said, "to let
the little things slide. He taught me to care
only for the big things. Sorrow is one of
the big things."
I said, then, "But you are young. Life
flows into emptied channels, don't you think
so? Love again, perhaps, another kind of
love will surely come to you."
"No," said Norma.
"Do you, then," I asked, "believe that
there is only one love in a lifetime?"
"I do," said Norma, gravely. "I do be-
lieve that there is only one really great
love. I know you are thinking about the
people who marry three and four times in
one lifetime. But that, I think, must be
because they have never found the one
real love. But you see I did find it."
"Then surely you have had the best life
has to offer?"
"Yes, I have," Norma said simply, "and
if I can find any trace of comfort in any-
thing, it is that I knew it. There are
people who only realize how deeply they
loved someone after he is gone. I have
been spared that, thank God. There wasn't
an instant of our time together that I
didn't know it, and so there wasn't a minute
wasted.
"It isn't the length of time that matters,
it's the loveliness. That's true, I know.
It is youth that matters most, I'm sure of
that, too. It is when you are young and
with the one you love that you are really
living the most keenly. We had that, Irv-
ing and I. And I am grateful for it. But
it is also true that when you are with the
one you love, every age is sweet. It would
have been sweet to us to have gone down
the years together. There was so much
for us still to do.
"I know," said Norma, her eyes hold-
ing now the trace of a smile, "that there
was a story written about the probability
of my marrying again, as well as specula-
tion about whether I would return to the
screen. Well, that was only natural. I
can only say that there have been no such
problems because everything else was so
very unimportant. I do not believe that
I shall ever marry again. I like the idea
of having one love in my life. I am afraid
I am a terrific and incurable sentimentalist.
For, if ever I should marry again, which
seems unthinkable now," Norma was say-
ing, "I imagine it could only be a com-
promise, and I dislike compromises. Many
women, after all, lead very full lives alone.
"As to my working again, that came
about gradually. There was no one mo-
ment of illumination in which I made a
decision to return to the screen. Sidney
Franklin came to talk to me about doing
'Marie Antoinette.' I will never forget
how kind he was. He talked to me about
the script, about all the work Irving had
done on it, Irving's ambition for it, his
hopes of it. I felt that I couldn't bear to
do it, but that I couldn't bear to have
anyone else do it either, then that I couldn't
bear not to have it done at all. It was
the last picture Irving worked on, the
last picture plan he worked out for me.
We couldn't let that go for nothing.
"I don't like to say that I did it for Irv-
ing. That sounds too trite, somehow. 1
don't like to say that I am 'carrying on' for
Irving. But I think that is what it amounts
to. You know, Irving was so proud of
my being an actress," Norma's laugh was
tender. "He was so proud of my being
on the screen. However trite it may sound,
I do know that, in returning to the screen,
I am doing what he would want me to do.
"Not," said Norma, "that he would have
allowed his pride in me to cloud his judg-
ment. That was still another of all the
uncounted reasons why his faith was so
valuable to me. I know how honest it
was. When I was working I never both-
ered Irving with details. But sometimes,
if I didn't feel a big scene was going the
way it should, I would slip to a phone
on the set and ask him if he would just
stroll down, sort of casually, and tell me
what he thought.
"The first time I came back to the
studio was the hardest thing I had to do.
Can this poised young lady be
that little harum-scarum Bonita
Granville! Believe it or not,
she's all but grown up!
It was when they had the Convention and
Exhibitors' luncheon. I had always at-
tended those luncheons with Irving. And
Mr. Mayer felt that I should attend this
one. I felt that I should, too. I made
up my mind to be so very adequate," Norma
laughed a little, at herself. "I dressed so
carefully. You should have seen how care-
fully I made up ! I even determined to
make a little speech. Thank goodness, I
did take the precaution of wearing a large
hat which shaded my eyes. Because that
was the only time when I have disgraced
myself publicly. I think, it was because,
when I faced all those men, I knew that
their thoughts were with me. I wasn't able
to carry it of¥ as I had wished to. But
they were so very understanding.
"It is the kindness of people," Norma
told me, "which has given me the realest
warmth I have known. When Irving was
here I don't think I knew many people
very well. I often feel that they didn't
know me. That was because all the emo-
tion in me went to Irving. I have always
thought of myself as quite a devoted
mother. Certainly I love the children dear-
ly. But I did not give them what I am
giving them now. And I realize it."
"I wonder why you leally came back to
work. Fame means nothing to you."
"Oh, but it does!" said Norma sitting
erect. "It means a great deal to me. I
love it. I am just as ambitious as I ever
was, and for the same reason — for Irving,
for those who believe in me. There is a
certain pride and excitement, too, in keep-
ing something you have worked hard for
and achieved.
AND habit is very strong. I found that
to be true when I came back, when I
realized how effortlessly I slipped int'o
working again. I don't believe in people's
throwing over jobs they have begun. I
have a feeling, too, that the screen is my
destiny and that while I live, I must follow
it. And there is another thing — it helps
time pass quickly. I just don't want
there to be too much time, that's all.
"It is when the day's work is over that
it is hard, the going home."
''You don't mean," I said, "that you go
home alone, have dinner alone?"
" 'Yes,' to both questions," smiled Norma,
■'I want it that way. When I am working
I go home, play with the children for
awhile, then have my dinner in bed on a
tray. That makes it easier for me than
sitting alone in the dining room. Then I
do a little studying, and go to sleep. I
find that I am sleeping better, too, now that
I am working again.
"I shall continue to live in our house by
the sea. I have been advised to leave it
because of the associations. But that is
exactly why I shall continue to stay there,
because of the memories. Why should I
run away from the memories which are the
most beautiful things in my life? I want
to be in the home Irving and I shared so
Iiappily together. It is the nearest I can
come to having things the way they were."
Norma walked to the door with me when
I left, after we had talked about the chil-
dren and how she thinks it quite probable
that little Irving may follow in his father's
footsteps.
I tried to thank her for the time she
had given me, the confidence given us all,
and she said, "I think those who have been
interested in me have a right to know how
things were with me, how they are with
me now, and I am happy to tell them."
72
MODERN SCREEN
WARNfR BROS. STAR
where a Complexion Care
has to work-
out of lO Screen Stars use Lux Toilet Soap
73
THE PEOPLE'S CHOICE
(Continued from page 33)
relaxes by harmonizing with the boys,
swapping jokes, or playing a little poker.
The boys, Gene included, don't head for
bed till after midnight. And then they're
up again at four-thirty. It's a he-man life,
I'm telling you. City slickers just couldn't
take it.
I asked him about his health. He
grinned and said, in that soft Oklahoma
drawl of his, "I can't remember ever bein'
sick." Having knocked on the nearest
piece of jvood, he added, "I've been banged
up a bit, takin' falls off horses, and things
like that, but that's all."
"How come you don't get a little more
sleep ?" I wanted to know.
Gene grinned again. "I'm a restless
hombre, I reckon. Sleep seems a waste of
time if there's anything else to do."
Yet he has none of the vices associated
with late hours. ■ Song may keep him up,
but not wine or women. He doesn't drink.
His kind of work demands steady nerves.
For the same reason, he doesn't smoke. As
for women, "I'm happily married," he says
simply. He's too thrifty to have any inter-
est in night-clubbing or gambling. He
doesn't play poker except on location, and
then the stakes are too small to matter.
Bridge is his favorite card game.
GENE used to be a telegrapher on the
Frisco Railroad, and, as he says, he
"took to singing" to keep himself awake.
First, he had a saxophone. "But I couldn't
sing and play the saxophone, too, so I started
whangin' a guitar." Again Gene grinned.
"It gives me the shudders to think what
might have happened if I hadn't got rid
of that saxophone. I probably wouldn't
have had a friend for fifty miles around.
But that guitar made me all kinds of
friends. I wouldn't have got anywhere
in this singing business without it.
"Jimmy Long and I — he worked for the
Frisco, too — we used to get together and
sing till all hours, all the old cowboy
tunes. Finally, we got tired of the same
old repertory all the time, and started
makin' up new songs of our own. That's
how we happened to write 'That Silver-
Haired Daddy of Mine,' which was a hit
almost right away. I guess people sort
of liked the change from Mammy songs. _
"That started everything. Jimmy said
I ought to go to New York on my vaca-
tion and sing it for the recording com-
panies. I went — just a green kid from the
sticks — but I couldn't get to anyone im-
portant. After hangin' around one office
for three days, I decided I'd give up. But,
before I went back home, I was goin' to
sing just once, if it was only to a reception
girl. So I took out my guitar there in
that waitin' room, and sang real soft. Na-
thaniel Shilkret, the conductor, happened
to go through while I was singin'. He
told some executive inside about me, and
I got an audition. But they advised me
to go back to Oklahoma, get on some
local radio station, practice up a bit and
come back in a year or so.
"I got on a station in Tulsa, as 'Okla-
homa's Yodelin' Cowboy.' That was how
I met George Goodale. He was a news-
paper reporter. He wrote a little story
boostin' me, and I was mighty grateful.
After I came out here to Hollywood, I
saw this fellow in a restaurant one night.
He was workin' on a Los Angeles paper.
I asked how he'd like to be my press agent
and he's been with me ever since. Now
he's my manager. I can tend to my work
and let George do my business worryin'.
He's the most expert worrier you ever saw.
That Tulsa program led to making re-
cordings. The recordings led to a radio
program in Chicago, which led to personal
appearances, which led to my findin' Smiley
Burnette, which led to a better radio pro-
gram, which led to Hollywood. In Chicago,
I met Nat Levine, who was producin'
\yesterns. He was lookin' for 'something
different.' He thought maybe a singin'
cowboy was the answer. He had the cour-
age to try it out. And — well, here I am."
How does it happen that he always plays
a character named Gene Autry? "Don't
look at me — I didn't start it. In my first
picture, they billed me under my own name
because I had been in radio. And, some-
how, they've just kept on."
Ask him to explain his phenomenal suc-
cess, and he answers, "You've got me
stumped there, pardner. I'm no Adonis,
and I'm no actor, and I don't aim to pre-
tend to be. I guess I've just been plumb
lucky. Lucky to be able to sing a little,
and to have Smiley with me. I wouldn't
make a picture without him.''
Where did he find Smiley?
''Well, I was doin' a show in Rockford,
Illinois, and I needed an accordion player
in the act. The theatre manager said there
was one on a little radio station down in
Tuscola, Illinois, named Smiley Burnette.
I called Smiley on the phone, and asked
how much he was gettin' a week. 'Seven-
teen dollars,' he said. 'I'll give you thirty-
five to join my act. Think it over and let
me know.' He said, quick as a flash, 'I've
done my thinkin', brother. When do I
start?'
"My first glimpse of Smiley was gettin'
out of a little Austin, piece by piece. Just
lookin' at him set me to laughin'. I figured
audiences would react the same way. And
I wasn't wrong. Smiley's a born clown.
And a whiz on any one of fifty-two dif-
ferent musical instruments without ever
havin' had a lesson. We're a good team.
I've never had a singin' lesson."
Gene has nerves of iron, which helps to
explain his easy-going naturalness. But
there have been a couple of times when he
hasn't been so easy-going. Once was in a
dance pavilion in St. Paul. One of the
local boys, a big bruiser, kept passing close
to Gene, making audible cracks about "that
drugstore cowboy and his masquerade
clothes." Gene stood it for a while. He
didn't want to start any trouble. But,
finally, his patience wore through. He
told his heckler, "All right, you asked for
it" — and let him have it. The fellow woke
up sometime the next week.
But he has never been annoyed by
youngsters pestering him for autographs
or words. "If they've got time for me,
I've got time for them," he says simply.
And that one remark tells a whole story
about Gene Autry.
He reckons that the worst experience
of his Hollywood career happened last
year, when two twelve-year-old Oklahoma
boys, one a cripple, hopped a freight train
for California "to work on Gene Autry 's
ranch." The police picked them up, of
course, and sent them home. But Gene
felt pretty badly that "a couple of kids got
a wild idea on account of me." Letters
that tickle him are those from mothers who
testify that Johnny washes his neck now,
since being assured that Gene Autry posi-
tively lathers his.
{Continued on page 76)
Diane Rochelle,
Hal Roach's tal-
ented chee-ild,
made her
screen debut in
"Swiss Miss."
Pasha, of the
exotic name, is
the four - footed
gent with her.
74
MODERN SCREEN
STAR OF METRO-GOLDWYN-MAYER'S "SHOPWORN ANGEL," REMARKS ...
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75
MODERN SCREEN
Lynn Roberts Featured in Republic Pictures
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When Gene went to the Academy din-
ner this year, he wore a tux — which he
had to borrow from a pal. He didn't own
one. He owns only one business suit, and
hasn't worn it in years. He wears cowboy
clothes off-screen as well as on. "I don't
feel comfortable in anything else. And,"
he adds frankly, "I figure it's good show-
manship."
In "Gold Mine in the Sky," you'll see
him wearing what he wears in private
life, a white sombrero, a dark open-neck
gabardine shirt with a small scarf knotted
around his throat, grayish-tan jodhpurs, a
figured jacket, and figured cowboy boots.
For the picture he used just a touch of
grease-paint. Not for glamor's sake
("Heaven forbid!"), but for protection.
Gene is so fair complexioned that he sun-
burns violently. "Wouldn't I look good in
close-ups, blistered and peelin'?" he de-
mands, sardonically.
OFF screen, as on, he has a cowboy
vocabulary. And he has a cowboy sense
of humor, not a Hollywood sense of humor.
His idea of something funny is an ingenious
prank, not a well-turned wisecrack. And,
working with cowboys, he's in prankish
company. "They've got to be doing some-
thing for laughs," Gene says, "to forget
how hard they work."
On this trip, the boys brought along a
man-size dummy, pilfered from the prop
department, dressed it up in men's clothes,
and sneaked it into the script girl's bed
while she was at dinner. Her bedtime
scream scared mountain lions five miles
away, and gave the boys a laugh for a
week. But the gag that all of the boys,
Gene included, chuckled about most in
reminiscence is the one pulled on one of
his leading ladies. Never mind her name ;
maybe she's reformed now. But she didn't
like the idea of playing heroine in a West-
ern and went around with her nose up in
the air. So the boys gave her a real rea-
son for elevating her nostrils. They spread
limburger cheese on the back of her bed.
Mrs. Autry visited the location one day
during this trip. Like Gene, she is blue-
eyed and fair, with a friendly smile. She
is younger than Gene, who is twenty-nine.
She was going to Drury College in Spring-
field, Missouri, when he met her. Unlike
Gene, Ina doesn't go in for Western garb.
She likes horses — she is the only one be-
sides Gene who can persuade Champion to
do his finest tricks — but confesses she
doesn't ride a great deal. She makes no
attempt to share Gene's limelight. Sharing
his private life is enough for her. . And
they're devoted to each other. When Ina
is around, Gene has no time for anyone
else.
Gene's hobbies are horse-raising, books
on the old West, and song-writing. "If
you can call what I do writin'. I can make
'em up, but somebody who knows music
has to set 'em down."
Either by himself, or in collaboration
with Smiley Burnette and other harmoniz-
ing cronies. Gene turns out between twenty-
five and thirty songs a year, most of which
find their way into Gene Autry song books.
His favorite cowboy song is "The Last
Round-Up." He admits that its senti-
mental melancholy "gets him every time."
It makes him homesick.
That homesick note creeps into his own
compositions constantly. For all the at-
tractions of Hollywood success, he still can
see the attractions of riding herd on the
plains, under a wide dome of sky. But, as
a composer. Gene is versatile. Nostalgia
isn't his only theme. Sometimes he in-
dulges in picture-painting with words and
music, other times, in homely philosophy,
still other times, in humor.
But his song that best sums up Gene,
himself, is probably "Money Ain't No Use,
Anyway." The chorus goes :
"When hard luck o'ertakes me,
And everything goes wrong,
I bear my burden with a smile
And I sing my little song.
I laugh at all my troubles,
And never wear a frown —
And that's the way
I'm always gay
And make the world go 'round."
WATCH OUT, WAYNE!
(Continued from page 37)
experience, and a lot of work, and at least
I knew what it was about. But even then
I didn't feel that acting was anything to
get too serious about. Not as I do now.
"Perhaps I was kind of fresh and giddy
about it all, because acting had just never
been one of my ambitions. I didn't go to
the Pasadena Community Theatre school
to study acting. I was interested in direct-
ing and I still want to be a director some
day. Acting was only a sideline. I never
played leading parts or anything like that.
Over a period of three years I appeared
in forty-two plays and in forty-one of them
I played old men with beards and aches in
their backs. Naturally roles like that don't
give anyone movie-hero complexes. I
never cared two hoots about being in the
movies. I had never even been inside a
studio. When I finally did come out from
behind my beard in one play, a casting
director happened to be in the audience —
so here I am, and now that I'm here I
guess maybe I'd better do some worrying
about it. Naturally any man, after he
gets into a thing, wants to go to the top
— for his pride's sake. Only that's not so
easy to accomplish. There aren't as many
tricks, as there are in college, for example.
"In college the trick I used was the best
old trick in the world. In high school
I had learned that if you held some stu-
dent body office, the teachers just naturally
supposed you must be a leader in your
studies, too, and they always gave you the
benefit of the doubt. That's how I got by,
anyway. I tried to work the same thing at
the Los Angeles Junior College.
WHEN the freshman president was to
be elected I had about fifty fellows
planted in the audience to nominate me, and
I prepared a whopping speech, memorized
every word of it. But unfortunately the
chairman called on everyone else first, and
my friends didn't have a chance until the
very end. Out of seven I was the last to be
nominated, so I was the last to speak, too.
Well, the other speeches were so long-
winded that after about an hour and a
half, I caught myself going to sleep. I fig-
ured the audience must be about asleep,
too, so when it came my turn I decided
not to make my speech at all. Roosevelt
had just been elected, so I just got up and
said, 'Well, kids, I hope we have beer by
fair — and sat down. They loved it. They
elected me. After that, studies were a cinch !"
Incidentally, when you ask Wayne what re-
forms he accomplished during his presi-
dency, he answers quickly, "Oh, up to then
they had had only one class dance a year —
I had three !"
You see, this six-foot-two youngster is
more than just brawn and muscle. There
is a good sized brain clicking away under
that shock of blond hair. When W^ayne
first began making seventy-five dollars a
week, he took out an annuity which re-
quired him to sock away fifty out of every
76
MODERN SCREEN
seventy-five. That's not only good saving,
but quick thinking. He let the insurance
salesman get him before any of the town's
glamor salesmen did.
And Wayne Morris has never yet fallen
for any of the town's usual pastimes. He
has been in a night club only three times
in six months. And he still sticks to dollar-
ninety-five cent sport shirts. He still lives
with his family, and does not have a swim-
ming pool. And he has no personal pub-
licity agent. In fact, the only extravagance
he has allowed himself is his big car.
When you remember Wayne's youth and
all the temptations that beset a Hollywood
star in his position, the wonder is that he
has kept his head at all. When you men-
tion that, Wayne gives his mother credit
for whatever sagacity he has shown.
What we hope is that Wayne Morris will
not become so serious that he'll sacrifice
any of these refreshing qualities. We can,
however, see his problem. All about him,
and especially on his own lot, he sees stars
like Paul Muni and Bette Davis who at-
tempt to live their roles, who spend weeks
and months on research before ever start-
ing a characterization, and he knows that
if he is ever to be an actor of this calibre,
he must hurry to catch up on his prepara-
tory work.
HE has tried to spend some time with
the studio dramatic coach, and the
coach says that he's a hard worker when he
gets down to it, but often other lures
break in. Perhaps Clark Gable calls him
for a round of golf at Lakeside. His long
legs ache to start out on a golf march,
and he has difficulty concentrating on how
Mr. Ibsen meant a particular line to be
delivered. Or perhaps a dozen other
things, and Wayne can scarcely be blamed
for putting off till tomorrow what he
might better be doing today.
There is one thing on which he is very
definite, however, and this is very sig-
nificant in his character. Ask him who he
admires above everyone else in Hollywood
and he will tell you, "Harry Carey. Not
only because he's been such a fine actor
all these years — he's been a star since 1908
and he's still making $2,500 a week — but
because he's stayed such a grand fellow.
And I especially admire him for the way
he lives. He has a ranch, and lots of
friends, and he and his wife live so simply.
That's the kind of life I'd like.
"There was a time when I used to think
that adventure was the only thing, but I
found that this adventure stuf¥ is a lot of
baloney. I thought it would be romantic
to be a forest ranger for a year, so I be-
came one, but the only fires I ever put out
were the ones I started myself in the
kitchen stove.
"Once I shipped as a waiter, too, on a
two months' cruise to Australia and the
South Seas. That was a crazy kind of a
trip. There were fifty college fellows work-
ing on that boat, and I'll bet we had more
fun than the passengers. They used to ask
us to sit at their tables, so what kind of a
trip was it? An adventure? No. It was
the same kind of a pink tea party you
could have anywhere.
"No, what I like and what I aim at is
a steady kind of contentment, having fun
as I go along and always working in a
little progress. But I'll never have a
ranch like Mr. Carey's unless I get busy
right quick and put my shoulder to the
wheel first, will I ?"
Well, it's a hefty shoulder, anyway, and
with the pep and vigor that this young
Adonis has to put behind it, the wheel
ought to start spinning any day now. Only
be careful, Wayne Morris. In reaching
for something new, don't lose what you
already have. An odd hundred thou-
sand of your most devoted admirers might
be awfully disappointed !
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77
MODERN SCREEN
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A YEAR WITHOUT MY JEAN
(Contimied from page 27)
answer all of the letters, give my thanks
for all of the gifts and thoughts, personally.
So far it's been the one thing that has been
impossible to me, to really answer those
letters. The time will come when I will
be able to answer every one of them, will
be able to tell the dear writers what they
have meant to me. I have kept them,
every single one. But the appreciation
I have felt for all the letters, telegrams,
cables, the thoughts of me because of my
Baby, have been so close to me that I have
not been able to answer them individually.
On last Mothers' Day I had some 250
wires and cables from all over the world.
And not less than 3000 letters. On the
Baby's birthday I had, I suspect, at least
100 telegrams and cables and well over
500 letters. Even on my birthday, there
were wires and letters. How they knew
it was my birthday, I cannot imagine. And
the great majority of the letters said this
one thing, "I know that your Baby would
have wished me to remember you today."
Thank you, thank you, every one.
People who have had illnesses or trouble
have written me that they really and sin-
cerely believe that the Baby helps them.
They feel, I know, how she really loves
humanity, how she wishes them well.
She loves people so truly, that Bunny. I
don't know why, but a line the Baby used
often and often to repeat to me comes to
my mind now. It was, "A heart set on
love can do no wrong." A line from Con-
fucius. The Baby's heart was "set on
love." And now the love of her comes
to me, in full measure.
ILJOVV I wish that I could tell you how
A -I much the great loving kindness of the
people who love my Baby has meant to me
during this first long year. It is the love
of her friends all over the world that has
helped me more than anything else, except-
ing the Baby herself. That and the gifts
they have sent. One dear soul who
loved the Baby, someone neither she nor
I have ever met, made the most exquisite
miniature of the baby. It is done on paraf-
fin, done in delicate pastels, a different
likeness of the Baby on each side. And it
is hung like a pendent watch, framed in
the most delicate gold filigree.
Not long ago Bill had a letter from
the Captain of one of our big steamships.
He wanted to get in touch with me and
didn't know how. He thought that if he
addressed Bill at the studio. Bill would
tell him. It was a fine letter, with such
beautiful tributes to the Baby. He came
to Hollywood, called the studio, was trans-
ferred to Bill, who gave him my number.
His boat was leaving that same day. He
told me that all he wanted was to go over
to the Baby. She had been, he said, the
greatest inspiration in his life. She had
sailed through the Panama Canal with him
on one of his ships before she went into
pictures. And he has never forgotten her.
He told me he has lost not only a
friend, but the livest, most pulsing thing
in his life. She was so vibrant, so alive,
and at the same time so kind. When she
became Jean Harlow, he realized that Jean
Harlow and the lovely child who had sailed
with him were one and the same. I told
him to go to the Baby, of course. His ship
sailed for San Francisco that night, to be
in port for two days. He flew down from
San Francisco, stayed near the Baby for
four hours, so they told me, and then flew
back again to his ship. Such loyalty and
devotion continually touch and warm my
heart.
Time and again people come to my door,
people I have never met, nor heard their
names, many of them. They tell me some
loving little thing the Baby did for them,
some service she rendered. Or they tell
me how much happier they are for having
watched her as she passed by, never for- -
getting the smile, the wave of the hand,
the friendly greeting.
I haven't been able to let these dear
people know of my gratitude as I should
have liked to do. I am trying to do so now,
however feebly, because the Baby was so
grateful for every favor, for every act
of service done for her. Never did Brown,
our houseman and our loyal friend, bring
her anything, a tray in bed, a parasol, a
handkerchief that she didn't have a brilliant
smile for him, that she didn't make him
feel as if he was doing her a very great
favor. She was like that. I must try
to be like that, too.
So, through this long year, I have been
working for a greater realization, a greater
consciousness. And my Baby has helped
me. She was always wiser than I. She
is so much wiser than I now.
And I have held fast to the certainty
that my Baby is safe. It may seem curious
that when the Baby went away, loving her
as we did, it never occurred to Bill or to
me to worry that she would be taken care
of. When she traveled here, on the few
occasions when she went away from me, I
was so concerned about her. I worried
about whether she would reach her desti-
nation safely, whether she had warm
enough clothes with her, whether she would
eat properly. Yet when she went away
this last time I didn't worry about whe-
ther she would be cared for. I knew.
And always I remember the words she
said to me, just two short weeks before
she went away, "The greatest experience
I have ever had is just around the corner,
darling, and oh, I wish that I could tell
you how happy I am !"
Then she came back to tell me about it.
Some days are harder to bear than others,
of course. There come days when the
human part of you aches and is desolate
with an unbearable poignancy and pain.
One such day came to me five weeks
ago last Sunday. I do not know how to
translate this experience into words. There
are no words to use, really. But I feel
Bill Powell is still far from well,
as you can see. Here he is
with George Raft at a recent
prize-fight
78
MODERN SCREEN
that for those others who are bowed down
beneath their pain, who cannot get on top
of it, I should speak of it. Mind you, I
want to speak of it. It was so joyous, so
bright, so beautiful. It has given me such
an uplift of life and light that I would
do anything in my power to share it. It is
only that words are so capable of misin-
terpretation, are so faulty to express facts
when facts are not common human ex-
perience. I can only try.
This day was a Sunday — a beautiful,
sunny day. The house was quiet and I
was alone. Alone and so bowed down be-
neath my sorrow that I felt I simply could
not raise my head above it. I could not
get on top of it. Everything that had sus-
tained me seemed to have fallen away from
me. I could not bear it.
I SAT alone in my living-room here and
leaned my head against the back of the
chair and just said aloud, "Oh, Baby,
Baby, Baby!" And she came to me. I
do not mean as a vision made manifest
out of my bitter need. There is a differ-
ence. I mean that she walked into the
room, her footsteps light and soft because
she was wearing the little white rubber-
soled sneakers she always wore around
the ^ house. She was wearing her white
slacks, one of the white fuzzy sweaters she
loved to wear, and in her hand she carried
one of her large white silk handkerchiefs,
polka-dotted in red.
She was there with me, warm and
breathing and real. I saw her with my
eyes. I felt her. She came to me and
took me in her arms and just held me
there. I can't say for how long. I just
know that I felt such a sense of joy-
ousness and brightness and light as
had not been mine since she went away.
All at once I was healed and at peace. I
was on top again.
Then my Baby turned and walked out of
the room, into my bedroom. I could hear
her moving around in there, humming to
herself. I knew what she meant. She
meant what she always meant when every-
thing was all right, when everything was
beautiful and serene, when she would say,
"Isn't this swell? Isn't everything great?''
That's what she said then.
I told you I could not find words. Nor
can I. I only know that she was here with
me. I only know that she left me, if
not with a song in my heart, at least with
a consciousness of song again.
And I know that if the Baby made
that effort to get to me with joyousness
and light, I would be selfish, morbid, I
would dishonor her memory if I turned
my back on the gift of joy she brought
me. For those who love her, I tell this.
She used to say, laughingly, "My Old
Lady can do anything !"
And I said to her, that morning, whether
with words or only with my heart, I don't
know, but I said, "All right, Baby, your
Mommie will come through."
After she left me I began to think. All
right, I want to do everything the Baby
wants. That has always been my endeavor.
Now I can keep on doing what she wants.
Ever since that bright morning I have
had such a sense of uplift as I cannot pos-
sibly describe. And I know that she is
saying to me, as she used to say when I
had done something she considered worth
the doing, a deed she thought unselfish
or strong, she would say, "Well, General,
I'm proud of you !"
Now I honestly feel that I am doing
something for the Baby again, something
that will make her stand at salute the
way she used to do and say, "Well, Gen-
eral, I'm proud of you !"
Now again I can feel, "Here is another
day in which I am able to do something
for the Baby." Every time now that I
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79
MODERN SCREEN
can smile, every time I can be kind, every
time I can go out and be myself again, I
hear the Baby saying, "Oh, darling, I am
so very proud of you."
So every day I'm trying to do the things
that will make her still prouder of me.
And when you are trying to please
someone you love, there is solace in that.
I couldn't fail my Baby. I just couldn't.
If I did, if I hid away in the dark, let
myself be submerged for lack of the touch
and sight and sound of her, after she made
the ultimate effort to give me proof of
what, in my human weakness, I asked proof
of ... if I failed now to wear the joyous-
ness and brightness she brought me, then
I would so definitely prove that I am not
what she thought I was.
She wanted people happy. She used to
say, "If Mother's happy, there's nothing the
matter with the world." So what can
Mother do but be happy? She shed hap-
piness. Why shouldn't I shed it for her
now? And that's what I'm going to do.
Since that day I have never gone under
again. I am all right now. I have not lost,
and will not lose, that sense of uplift she
brought me with her own hands, when she
held me in her arms. I am on top of it.
And every day of my life now I work,
I hunger, I dig and delve to have the
understanding that the Baby has.
I do not feel separated from her, so
the word "reunion" has no meaning for me.
But I believe that we must make a con-
scious effort to reach the higher states of
consciousness. That is why I am working,
so that when it is my time to go I can go
at once to the plane of consciousness where
she is. I don't want to have any more
delays. I must waste as little time as
possible away from my Baby. That's why
I'm striving so very hard now.
Until the Baby helped me as she did,,
it didn't come easily. It meant work. It
still means work. You don't begin to read
Shakespeare in kindergarten. But when
you are ready for the greater understand-
ing, when, through a natural inclination or
through something that bows you so low
there is nothing here to turn to, then if you
seek diligently and humbly, you will find
what you seek.
I FIND my help in the Bible as, for
countless centuries, others who have been
weary and heavy laden hav-e found help. I
have no creed, no denominational religion.
But I read the Bible. And there, I believe,
we learn what Life is — what all of life is,
not merely this classroom we are attend-
ing now. I take one verse at a time and,
if it takes me ten days, I study it until I
get to the bottom of it, learn what it
really means.
There is the tenth verse of the thirty-
third Chapter of Isaiah, "Nozv will I rise,
saith the Lord ; nozi' will I be exalted, noiv
will I lift up Myself.'' That is such a defi-
nite promise. It just is. I have found the
Bible to be a definite, material prop, one
on which I can lean, one which strengthens
and colors and inspires everything I think
and feel and do.
As the end of the first year came to
a close, I realized that I should leave the
little house where I lived after the Baby
went away. I took a small apartment. I
had to let Brown go, loath as I was to
part with him. I felt that I must live
even less expensively. I cannot let Bill
do for me the things he would do so
gladly. I'm simply not made so that I
can accept favors, however eagerly offered.
For the first time in my life I am
going to do my own cooking ! I'm ashamed
to say that I don't know how. It's just
been one of the things I've never been
called upon to do. Now that I am .called
upon to do it, I know that I can.
The only real loss I feel in leaving the
house is that I cannot take my Baby's por-
trait with 'me. I searched everywhere
hoping to find a room large enough to hold
it. I couldn't. And so Bill is taking her.
He wants her in his house so much. Bill
has most of her clothes in his home, too.
He can care for them better, more safely,
than I can. I have a little bed-jacket she
loved, the lovely robe she wore when she
went to the hospital, all of her toilet articles
and accessories, all of her pictures, from
the first darling baby ones to the last dar-
ling baby ones. For the rest, things do not
matter very much to me any more. I shall
live nicely. Dainty things will always be
important to me, of course. The Baby
would expect that of me. But material
possessions are unimportant to me now
that the Baby is not here every day to
enjoy them with me.
I shall go out more now than I did.
I have my few dear friends around me.
I spent a week with my Mommie and
Daddy a few months ago. Bill and I are
together a great deal. There is never a
day when he doesn't phone me, talk to me
for an hour or more. We spent the anni-
versary of the day the Baby went away to-
gether, there where she is resting.
I am all right now. I am my old self
again. And I don't want people to dread to
see me, fearful of my grief. I don't want
to dampen their glowing thoughts of the
Baby who was so vibrantly alive. The
love they gave that Baby with a joyous
gratitude, I want to repay with a grati-
tude that is also joyous. Now, thanks to
her, I have found the way to do that.
AW,MOM...i OAflYTOLD H/M
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80
MODERN SCREEN
KEEPING TABS ON
TAYLOR
{Continued from page 29)
as concrete. "How did that happen?" I
asked curiously.
"That was funny," to hear Bob tell it.
"According to the script, I was supposed
to break my right hand in a bout with Bill
Gargan. But this happened before I got
to Gargan — in a fight with Mickey Mc-
Avoy. His head got in the way of my
. thumb, or vice versa, I don't know which.
I thought it was only sprained, and kept
on fighting. But that night the doc in-
sisted on taking x-rays, and the x-rays
said it was broken. He had me bandaged
up in splints till today."
AND there you have an interesting little
• foot-note on the life of an actor. A
prize-fighter with a broken thumb would
refuse to fight. An actor playing a prize-
fighter won't let a broken thumb keep
him from working. The show goes on.
It goes on, that is, if the actor is a Robert
Taylor. Bob hasn't yet picked up those
two Hollywood weaknesses, temperament
and self-pity. And, I venture to say, he
never will. He isn't the type.
I asked him if the new and sudden change
frorn romantic roles to athletic roles was
his idea, something he had demanded.
"I don't have anything at all to say about
what I will or won't do. The studio
decides that. And that's all right with me.
They know more about this business than
I do. Whatever they want me to play,
I play, and that's that."
All right, he hadn't had anything to do
with his kissing scenes becoming fewer
and fewer. (The script of "The Crowd
Roars" had nary a one for him.) But how
did he feel about it? Was he glad to escape
from young-lover roles into young he-
man roles ?
It was a blunt question. Bob answered
it bluntly. "There isn't any 'escape' about
it. I'm enjoying this prize-fighter role, sure.
But I enjoyed the role I had in 'Camille,'
too, and that was all love story. When
you get right down to it, that's the only
real love story I've done. All that mat-
ters to me is whether a role is good or
not. That's more important than what
type of role it is."
How did he feel about the new emphasis
on the fact that he has a physique, as well
as a face? That got a laugh out of him.
"I don't read my publicity," he quipped.
Bob puts it thus, "The good things they
might say about you would make you feel
better. But the bad things would make
you feel worse. Either way, if you be-
lieved your publicity, you'd work up com-
plexes. And, boy, I want to stay normal."
There is a story going the Hollywood
rounds that, after Bob's late lamented ver-
bal mauling by the New York press, Clark
Gable told him, "Don't let it get you
down. As long as they put your name in
headlines, and spell it right, and you keep
on turning out good pictures, you don't have
to worry." , I told Bob the story, asked him
if it were true.
"It's a new one to me," Bob grinned,
looking up from the tasty business of
dunking a bit of hash in a pool of ketchup.
"When Gable and I get together, we talk
about anything but pictures or careers.
And I mean anything but."
We both concentrated on food for a few
moments. Then I asked him if he is
happier today than when he was a strug-
gling newcomer, or if happiness is still
just a bit elusive.
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BEECH-NUT GUM
is always refreshing
P. S. Have yoii tried RUMMIES, the neiv Beech-Nut
Candy with the different and delicious flavor.
MODERN SCREEN
HOW TO SAVE
MONEY ON FOOD
This Millionairess Dish at 3i a
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It's grand to be able to save money on food
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both delicious and nourishing!
Imagine a ready-cooked, savory and appetiz-
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utes, which all your family will enjoy, and
which costs less than 3 cents a portion!
Serve Franco-American as a main dish
whenever you want an appetizing spaghetti
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milk and fruit. They love it! Whenever you
have meat or fish left-overs, just combine these
with tasty Franco-American Spaghetti, and
you'll have a dish that will bring your hus-
band back for more.
Delicious Franco-American certainly saves
work. And how it does save money! "The big
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Franco-American is not just an ordinary
ready-cooked spaghetti. That extra-good sauce
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selected cheddar cheese and fine, sun-ripened
tomatoes — makes Franco-American stand
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"A bit elusive," he said, chipperly. Then,
more seriously, he explained, "No, I don't
think I'm quite as happy as when I started
out. I don't have the awticipations I had
then. Everything was new to me then.
Life was less cluttered up. I had just
one worry — whether or not anyone would
ever notice me.
"When you start out you think, 'If I
could just get started, if I could only make a
thousand dollars a week, if somebody would
just send me a fan letter, or ask me for
an autograph !' You think that then you'd
never have another worry. Then you sud-
denly realize that your worries are only
beginning.
"When you start out, your one ambition
is to make good. You try hard. You fight
for recognition. But suppose you get more
than you bargained for? It's a thrill, yes.
But it's a little disillusioning, too. The
recognition isn't based on as concrete a
foundation as you'd like. Luck has en-
tered into it — plenty.
"You're on a spot when that happens.
You have to work five times harder than
you ever worked before, pray five times
harder to get good pictures and give good
performances. You've got to pour an aw-
ful lot of concrete to prop up that recog-
nition. Luck doesn't last forever."
THAT was a long speech for Bob — and
one of the frankest, most self-revealing
that he has ever made. It explained, for
the first time, why he has gone from one
picture right into another for three solid
years without once complaining, "Hold on
here ! I'm being overworked !"
I asked him how many pictures a year
his contract now called for.
"As many as there's time for," was his
answer. An amazing answer, from a top
flight star. Most of the top flighters make
as few as possible, to whet public curiosity
about those few. Bob feels that the more
he makes, the more experience he'll get, and
the more he'll have to offer as a star.
If the script is ready in time, he will
do another picture before starting "North-
west Passage" in August, a picture with
Wallace Beery tentatively entitled "Stand
Up and Fight." (It isn't a fight picture.
It is an outdoor story with a Western set-
ting.)
Bob doesn't have the common star-atti-
tude that a star is an artist who has to be
in the mood, inspired, to do his best work.
"If doctors had to be in the mood to do
successful operations, the morgues would
be full. When doctors can't be tempera-
mental, where do actors get that stuff?
Acting is a job, the same as doctoring, only
less important."
He had said that he found happiness a
bit elusive." But wasn't his life becoming
3, bit Ccisicr ?
He pursed his lips. "No, I wouldn't
say that. I'd say, the older you get, the
more complicated your life becomes, no
matter who or where you are. The older
you get, the more you think, and the more
confused you get about how to stay away
from behind the eight-ball. Yet, it's fun."
When Bob was first becoming famous,
his mother told me that the biggest change
she had noticed in him was that he was
moodier, worried more. Did that still
hold true?
Reluctantly, he nodded. "Probably more
so. Only," he grinned, "I don't show it.
I can't afford to. People would think I
was mad about something. It's silly to
worry about things when one can't do_ any-
thing about them. But," he grinned
again, "if I feel like worrying, I just sit
down and worry awhile."
Was he "all set" for the future, financial-
ly, no matter what happened?
"No, I haven't got enough yet to feel
'set.' I've got a little real estate, some
government bonds, some annuities. I
haven't thrown my money away or been
reckless with it. But I haven't been 'in
the money' very long. Not," he quipped,
"long enough."
DID he think his recent radio stint as
master-of-ceremonies had done any-
thing for his popularity, given fans a new
idea of his personality?
"I don't know whether it has or not.
I didn't try to be different, or to become
a radio personality, a Jack Benny or a
Don Ameche. Going on the air has never
seemed part of my work. It's been some-
thing incidental, like a personal appearance.
I've never had any urges for a radio career.
I'm concentrating on my screen job."
What would he say have been the big-
gest changes in his life, the past year?
"Well, on the screen, the biggest change
is they've stopped putting me opposite big
feminine names. I'm more or less on my
own now. And I've got out of dress
clothes, which is a relief. No man ever
feels normal or natural in a starched shirt.
"Off the screen I'm edging more and
more toward the quiet life. _ I don't go
dancing more than once or twice a month.
I very, very seldom go to a preview. When
I get out to the ranch at night, the temp-
tation is to stay there and just whiff that
alfalfa. In England, I didn't go anywhere.
I've taken to relaxing. I've had to. I've
found out that I can't bat around and
work, too."
But, being Bob Taylor, doesn't he get
a little restless in all that quiet?
"A little, sometimes," he admitted. "But
I work it out of my system with long walks,
or horseback-riding, or frog-hunting. I've
got a frog problem out there. All the
frogs in the San Fernando Valley get to-
gether on my place for nightly choral
work. And I've got an alfalfa problem, too.
I have thirty acres, ten of them for the
house, lawn and paddocks, the rest in al-
falfa. There's been one cutting already,
with five more to go this year and I al-
ready have more alfalfa than I can use.
Now I'm trying to figure out whether to
spend a thousand bucks, put up a storage
barn, and get twenty dollars a ton, selling
it later, or take the twelve-fifty a ton I
can get now."
Is he sold on the rustic life for keeps?
"I've always had a farm urge, ever since
I was a kid. And it's going to take
me a long while to get enough of it. I'd
like to be able to buy a ranch I came across
up in the hills, eight hundred acres, with a
year-round stream flowing through a beau-
tiful valley they call Barley Flats, with
oaks and sycamores all over the place. I
showed it to Gable last Sunday. Now he'd
like to buy it too. But there isn't a chance
Solution to Puzzle on page 14
L
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P
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fr
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82
MODERN SCREEN
It was Set)*
that spoiled the Deb !
\Iew Germ-Free Face Powder
Helps to end Shiny IMose
either of ns will get it. The two of us
together haven't got the kind of cash it
would take.
"The place I've got now is a gentleman's
ranch. What I'd like to have is a real
cattle ranch. Maybe I don't know any-
thing about cattle now. But I didn't know
anything about acting, either, when I
started.
"Maybe,"' he added quickly, with a grin,
"I still don't. Anyway, you won't catch
me going into any philosophic discourse
about that."
Besides the urge for a bigger, better
ranch, what other suppressed desires did
he have?
"Well, I want to travel. I'd like to go
back to Europe, really look it over. I
still haven't seen that blue Mediterranean.
But the next time I go, I'd like to take a
year, so I guess I won't be going right
away."
He has no urge to make the trip in a
boat of his own. That would "involve too
many headaches, cost too much." He has
no urge for the stage either. He's the one
and only star I've ever heard disclaim that
urge. He has no urge to be the best-
dressed man in Hollywood. He hasn't
bought a new suit in a year. He has no
urge to own .the fanciest car in filmdom.
He's still driving the same one he had two
and half years ago.
' W ASKED if he was any nearer some
wedding plans.
"No nearer, and no farther away," he
said. "Everything is in status quo."
What was there to the story that colum-
nist printed, to the effect that the Taylor-
Stanwyck romance must be over, because
Bob had been seen with "other girls."
"Stories like that hand me a laugh," said
Bob. "Do you know how that particular
story started? I stopped in a drug store
one night for a sandwich and a cup of
coffee. The counter was crowded. I sat
in a solid row of people. There was a girl
on my right. In walked this columnist,
added up two and two and got five for an
answer."
No, Bob and Barbara still are in love.
But neither is in a hurry for marriage.
Their careers aren't standing in the way.
Both just want to be mighty, mighty sure
of permanent happiness ahead. Barbara's
first marriage was bitterly unhappy. And in
the back of Bob's mind, always, is the
memory of his parents' love for each other.
He wants a married life as completely
happy as theirs has been.
If Bob and Barbara do have any wedding
plans, they are being held in abeyance,
pending the outcome of her court fight with
her divorced husband over the custody of
their young son, Dion. Barbara doesn't
want in any way to involve Bob in that
disagreeable fight.
Because Bob and Barbara are seldom
seen about town nowadays, columnists, al-
ways eagerly sniffing for trouble, may leap
to the hasty conclusion that the romance
is waning. Nothing is waning but Bob's and
Barbara's interest in town night-life. Both
have simply become addicts of ranch life.
And don't think for a moment that this
mutual addiction is tearing them apart.
If anything it is bringing them closer and
closer. It might interest you to know this
fact, untold till now, that Bob took some of
his boxing lessons in a ring set up on
Barbara's ranch, two miles from his own.
He hasn't a swimming pool on his place,
and Barbara has one. And, after his work-
outs, he could use a little swimming.
Does that sound as if Bob and Barbara
are on the outs? And hearing Bob's an-
swers to the questions about what he is
like today, does he sound any less likable
than when you first knew him ?
FATHER came through with a coming-out
party that ran into thousands. Mother
invited every eligible male. Everybody had
"a wonderful time" . . . everybody, that
is, but the nose-dabbing Deb.
Deb or no Deb, what girl can exercise
feminine charm with powder puff in hand
and shine on her nose? Yet Shiny Nose
is a beauty fault that germ-free face pow-
der, like Woodbury, can easily subdue!
Oily film on the nose, which causes
shine, is aggravated by germs. Woodbury
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Try this exquisite powder, and notice
how' smoothly it goes on, how reliably it
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have fashion approval. Windsor Rose ia
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Try, too, Woodbury Germ-proof Rouge
and Lipstick in matching shades.
Send for 7 Thrilling Youth-Blend Shades
John H, Woodbury, Inc., 919.1 Alfred St., CiiiciniKili, Ohio
(In Cunuda) John H. Woodbury, Ltd., Perth, Onlnrio
Please send me 7 shndes of Woodbury Facial Powder; trial
lubes of two Woodbury Beiiuty Creams; guest-size Wood-
bury Facial Soap. I enclose 10c to cover mailing costs.
Name
Street
City State
83
MODERN SCREEN
My^ But
records dandrurfs
Now see what hesgot!
1 BOTTLE
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Even when diluted with 2
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SMART SPECTATOBS
No. 6043 — The three-piece specta-
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FALL MEANS football. Football to you
means a smart knit suit for the big games.
And these two costumes will make you a
success in any grandstand, besides being
ideal for office, school or shopping. The
three-piece ensemble will hold its own
against the most expensive imported tweed
suit. And you won't have to buy a fall coat
either, as the good-looking checked three-
quarter coat can be worn over your other
fall things. The becoming two-piece dress,
its blouse sprinkled with gay stars, has de-
finitely slimming lines, will keep you warm
at the game and go merrily on to the tea
dance afterward.
P.S. While their unusual detail makes
them outstanding, you don't have to be a
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no intricate stitches to hold you back, as
you'll see from a glance at the free instruc-
tions. Send for them today !
No. 6029 — Below, the two-piece
knit dress with star-studded blouse
will see you smartly through fall.
ANN WILLS. Modern Screen
149 Madison Avenue, New York, N. Y.
Kindly send, at no cost to me:
Knitting directions for No. 6043
Knitting directions for No. 6029
I enclose a stamped, self-addressed (large) en-
velope.
Name
Address
City State
Check one or both designs and please print
name and address plainly.
PEPSODENT
ANTISEPTIC
for LOOSE DANDRUFF
P. S. Don't forget Pepsodent
Antiseptic for BAD BREATH, tool
84
WARDROBE WEAPONS
(Continued from page 48)
MODERN SCREEN
NEW-TYPE ICE DEODORANT
is greaseless, actually cooling and
checks perspiration 1 to 3 days
shoulder straps of one bouffant gown, and
glittering vines of the same leaves stripe
the enormously full tulle skirt. A long
sleeved lame has yards of skirt, and dark
fur outlines the deep dropped shoulder
bodice. Her last gown is slimly fitted to
well below the hips. Bunchy ruching finishes
the long basque and then the skirt springs
out into yards and yards of stiffened net.
A rhinestone clip holds a fly away sheer
scarf at the base of the throat. That
bunchy ruching below the hips is all right
for Miss Simon but fatal to anyone who
does her shopping any size above the Junior
Miss Department.
Comedienne Joan Davis, usually a sar-
torial step-child, gets to dress up once, in
her vain pursuit of gentlemen discarded
by the popular heroine. The circular skirt
is built up to a high waistline effect, and
has a gathered bosom topped with a pail-
lette embroidered bolero. The bolero, far
from being on the way out, is just getting
comfortably established in smart ward-
robes. The "little jacket" is too useful
and too universally becoming not to have
a faithful following for some time to come.
GINGER ROGERS is a "Vivacious
Lady" with lots of snappy clothes. As
a night club singer she wears a white gown
featuring the poured-in silhouette to just
above the knee where it proceeds to flare
out in pailletted rhumba ruffles. A wide net
scarf, with no noticeable anchorage, floats
gracefully across the top. Over this, she
dons a finger length jacket, fitted through
the waist and flaring at the bottom.
For daytime. Ginger Rogers wears two
suits that would fit perfectly into any early
fall wardrobe. The first, made of light
weight burgandy tweed, is flecked with the
same cool blue that is inset in the broad
shouldered jacket. Its sleeves and back
are cut on the bias. With this suit Ginger
wears a black sailor with a coarse veil.
A three-piece suit worn by Ginger in
the same picture has a fitted jacket and
Chesterfield coat deftly striped in light
gray, Oxford gray, and a dash of bright
red. Its slightly flared skirt is Oxford
gray, as is the draped blouse caught high
at the throat with a bright clip.
One of Ginger Rogers' most effective
gowns is worn for a hair-pulling, eye-goug-
ing battle with brunette Frances Mercer.
This is fashioned of black net, backless
and very nearly frontless, a huge rhinestone
buckle holding a narrow belt about the
slim waist. That modern version of the
mantilla — a shower of net caught at the
top of her blonde curls— makes a graceful
and becoming headdress.
The post war tale of "Three Comrades"
is too concerned with serious matters to
stress clothes, but Margaret Sullavan is
allowed one glamour gown. It is carefully
designed to fit the period without looking
dated. Made of silver lame, it has a
shirred bodice, short puffed sleeves, and
the skirt falls in heavy folds. A circular
cut, floor length cape, also of lame, ac-
companies the gown.
Hollywood is for the most part an ex-
cellent fashion guide, though there are
occasional slight exceptions to this rule.
For example, almost every hat_ you see
in pictures is off the face. Tlnis doesn't
mean that "no one" is wearing dipping
brims. Camera men moan loudly about the
difficulty of getting angle shots when they
have a wide shadow-casting hat brim to
contend with. That's why you rarely see
that type of chapeau in pictures of your
flicker favorites.
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Here is a satisfactory answer to the
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Why risk offending the very people you
want most to impress? Start today to
enjoy the sure protection of Odorono
ICE ! Use Odorono ICE according to the
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35(4 at all toilet-goods departments.
SEND \0< FOR INTRODUCTORY JAR
KUTIi Mll.I.KU. riie O.lorono Co., Inc.
Dept. f-E-8', 19! Hudson St., New York City
(In Canada, address P. O. Box iil, Montreal)
I enclose 10^ (15p in Canada) to cover cost of
postage and packing for generous introductory jar
of Odorono Ice.
Name ~
Address
Cil.v Sl:il.>
85
MODERN SCREEN
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perspiration odor un-
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Todora is made differently. It actually has
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size to McKesson &
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45TH YEAR— Drama, Dance, Vocal lor ACLing, Teaching,
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Lee Tracy, Fred Astaire, Una Merkel, etc. Student Stocli
Theatre Appearances while leai-ning. Apply Sec'y, Teller,
66 W. 85th St.. N. Y.
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BLUE-JAY CORN PLASTERS
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Cast your vote and boost your favorite player
JACKIE COOPER: Six-
teen years okl, and now
nearly six feet tall, this
young veteran is still a
favorite after eleven
years in pictures. Born
in Los Angeles, Cal.,
September 15, 1922, the
son of Mr. and Mrs.
Charles .J. Bigelow,
and nephew of the famous director Norman
Taurog, Jackie entered pictures at the ripe
old age of five. At eight he became a star in
"Skippy," and the biggest hit of his entire
career was with Wallace Beery in "The
Champ." Jackie is now a student at Bev-
erly Hills High School, when he isn't work-
ing. He has grown up to be poised, quiet
almost to the point of shyness, and a very
likable young fellow. Jackie loves swim-
ming, football, dancing and driving. He
also enjoys boxing and tennis. He is a
swing enthusiast, and the proud owner of
an elaborate set of traps and drums on
which he delights to accompany phono-
graph records of leading swing orchestras.
He does not, however, like to sing. He is
very fond of dogs. But more than anything
else Jackie Cooper loves to act. He guesses
it's just "in his blood." and he hopes he can
act for many years to come. He modestly
avers he wouldn't make such a tine matinee
idol, but he'd like to be a good character
actor. If he couldn't be that he'd want to
be a director or a movie photographer.
Jackie has curly blonde hair and blue eyes.
His next picture will be "That Certain Age"
with Deanna Durbin. After that he will
Make "Gangster's Boy" and "Streets of Xew
York." Ton can address him in care of
Monogram Studios, Hollywood, Cal.
ERBOL FLYNN: Here is
one actor who is as hand-
some, dashing and dar-
ing off screen as he is on.
A direct descendant of
Fletcher Christian, who
led the famous mutiny on
the Bounty, Errol Flynn
was born in the north
of old Ireland on June
20, 1000, His father was a professor of
biology at Queen's University in Belfast,
later at Cambridge. Errol was educated In
Paris and London, and was an Olympic
boxing contestant in 1928. He has traveled
on every continent, speaks many language.';,
including Chinese and several native South
Sea dialects. He has fished for pearls in
Tahiti and prospected for gold in New Gui-
nea. He once owned and sailed a coast-wise
schooner on an inter-island freight service,
and he ended up in movies quite by acci-
dent. Errol was pearl-flshiug off Tahiti
when an English movie compauy came upon
him and offered him a role in "Mutiny cm
the Bounty." He accepted and the experi-
ence so intrigued him that he decided to go
on the stage and make a career of acting. It
was while he was playing in London that an
American motion jiicture executive saw him
and signed him to a Hollywood contract.
On the boat coming to America he met the
fascinating Lili Damita whom he later mar-
ried. Errol calls her Damita. and she calls
him Flynn. His definite ambition now is to
succeed in American movies, and by all in-
dications he certainly is realizing his ambi-
tion. Errol Flynn's favorite outdoor diver-
sion is sailing. He also swims, rides and
plays tennis. He has ambitious literary ten-
dencies too, has now written several books,
plays, short stories and even verse. He is an
avid editorial reader, and often writes
"letters to the editor." Also an excellent
cook. Errol sometimes treats his friends to
delicious home-cooked meals. Errol Flynn
doesn't like alarm clocks, spiders, or wed-
dings (except his own), but he does like
thunder storms, and the sound of wind and
rain. He lives In a modest home. There is
one room, his den, that no one else — not
even his wife — is allowed to enter without
permission. Errol is six feet two Inches
tall, weighs one hundred eighty pounds, has
brown hair and brown eyes. His last two
pictures were "Robin Hood" and "Four's a
Crowd." His next will be "The Sisters."
You can reach him in care of Warner Bros.
Studio, Burbank, Cal.
HUNDREDS OF ADDRESSES
FOR A STAMPED ENVELOPE!
Want to know your favorite player's
address? In fact, would you like to
have a complete list of all the Holly-
wood stars' mailing addresses? It's yours
for the asking. So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan letter,
that we've compiled a complete list for
you, naming the players alphabetically,
according to their studio, and giving
their complete mailing addresses. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want it.
To receive one of these lists, all you
have to do is write to us and ask for
it, enclosing a large self-addressed and
stamped envelope. Don't forget that
lost item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
86
MODERN SCREEN
BARBARA STANWYCK:
This auburn haired lass
of Scotch-Irish descent
was born and raised in
Brooklyn, N. Y. She was
first heard from on July
16, 1907 and shortly there-
after was christened
Ruby Stevens. Ruby was
quite an athletic young-
ster, and a serious one too. She played on
the school basketball team, and figured
prominently in school dramatics. She once
taught Sunday school, even wanted to be a
missionary, but she had to go to work too
soon to realize that ambition. At thirteen
she was working with the telephone com-
pany. At fifteen she was a Vogue pattern
cutter. However, when she was fired for
lack of previous experience this ambitious
girl remembered how much she liked to
dance, and got herself a job In the Zeigfeld
Follies chorus. Later she danced in George
White's Scandals. Her first chance at a
dramatic role came in the Broadway play
"The Noose." It was while working in this
that she took her new name — Barbara Stan-
wyck. Her next dramatic role, in the highly
successful play, "Burlesque," established
her as a leading Broadway actress. She took
a screen test and promptly received a con-
tract. She had a lot to learn, however, and
did not succeed immediately. But she kept
on working, and the picture "Ladies of
Leisure" rewarded her talents and estab-
lished her popularity. She loves to work
and prefers pictures to plays because they
allow her to have a home life. She hasn't
permitted success to change her. She is easy
to get along with, and is not temperamen-
tal. She likes good plain food, too — no
fancy diets. Her tastes are consistently
simple. She prefers tailored clothes, though
she likes trailing negligees. Barbara is a
good listener, but she can hold her own In
telling someone ofE when she has too. Her
greatest joy is her little adopted son, Dion.
Babs is interested in writing. She plays
tennis and swims a lot too. Together with
Zeppo Marx she owns a stud ranch, "Mar-
wyck," and has been highly successful with
breeding thoroughbred horses. Barbara
Stanwyck is five feet four inches tall, weighs
one hundred twenty pounds. She has au-
burn hair and dark blue eyes. Her last two
pictures were "Stella Dallas" and "Break-
fast for Two." Her next two will be "Al-
ways Goodbye" and "The Mad Miss Man-
ton." You can reach her in care of 20th
Century-Fox Studio, Hollywood, Cal.
Charles Huffman, Bsmont, Va. Merle Oberon,
Herbert Marshall, Beatrice Lillie, Binnie
Barnes, and Reginald Owen are English.
Charles Boyer is French, and Luise Rainer
is Austrian.
Audria Fluke, Altoona, Pa. .Tohn Beal's real
name is Alexander Bliedung. He was born
in Joplin, Missouri, August 13, 1909. He is
five feet ten inches tall, weighs one hundred
fifty pounds, has brown hair and eyes. He
is a graduate of Wharton School, U. of
Penna. He is married, and has been In the
movies since 1913.
Mary Duval, Erie, Kansas. Kenny Baker is
six feet tall, weighs one hundred sixty-one
pounds, has brown hair and blue eyes. He
was born in Monrovia, Cal., September .30,
1912. Before entering the movies in 1936 he
sang in cabarets and on the radio.
(Continued on page 96)
INFORMATION DESK. MODERN SCREEN,
149 Madison Ave., New York, N. Y.
Please print, in this department, a brief life
story of:
Name
Street
City State
If you would like our chart with weights,
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
AN EXPERIENCED WOMl
could have told her!
Neglect of intimate cleanliness may rob the loveliest
woman of her charm . . . Use " Ly sol" for feminine hygiene
ONE lesson life teaches a woman is
the need for complete intimate
daintiness.
A man wants to think of the woman
whose love and companionship he seeks
as his dream of feminine loveliness . . .
fresh and exquisite at all times. But,
without realizing it, there are times
when even perfumes, baths and beauty
aids may fail to make you attractive —
if you neglect the practice of feminine
hygiene. Many experienced family doc-
tors know that this neglect has wrecked
the happiness of countless marriages.
Don't risk offending in this most
personal way. Be sure of complete
exquisiteness. Follow the "Lysol"
method of efficient feminine hygiene.
Ask your own doctor about "Lysol"
disinfectant. He will tell you "Lysol"
has been used in many hospitals and
clinics for years as an effective anti-
septic douche. Directions for use are
on each bottle.
Six reasons for using "LysoV for
feminine hygiene —
1— Non-Caustic . . . "Lysol", in the proper
dilution, is gentle and efficient, contains no
harmful free caustic alkali.
2— Effectiveness . . . "Lysol" is a powerful
germicide, active under practical conditions,
effective in the presence of organic matter
(such as dirt, mucus, serum, etc.).
3— Spreading . . . "Lysol" solutions spread be-
cause of low surface tension, and thus vir-
tually search out germs.
4— Economy ... "Lysol" is concentrated, costs
only about one cent an application in the
proper dilution for feminine hygiene.
5— Odor . . . The cleanly odor of "Lysol"
disappears after use.
6— Stability . . . "Lysol" keeps its full strength
no matter how long it is kept, how often it is
uncorked.
Also, try lysol Hygienic Soap for bath, hands
and complexion. It's cleansing, deodorant.
What Every Woman Should Know
SEND THIS COUPON FOR "LYSOL" BOOKLET
LEHN & FINK Products Corp.,
Dept. 9 -M. S., Bloomfield, N. J., U. S. A.
Send mc free booklet "Lysol vs. Germs" which tells the
many uses of "Lysol."
Name-
FOR FEMININE HYGIENE
Street—
CUy—
-Stale-
CopyrlKht 1938 by Lehn & Fink Products Con.
87
/
MODERN SCREEN
AFTER DIVORCE-WHAT?
(Continued from page 41)
EYEBROW CONTROL
charm and beauty, it's most important to
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easy, too. Just "tweeze"away those stray hairs
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Don't neglect this essential beauty care! Get
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FACE MARRED BY UGLY
SCHOOL-AGE PIMPLES?
Help keep your blood free of waste
poisons that may irritate your skin
Don't let ugly hickies make you look ridicu-
lous. Stop being shunned and laughed at.
Find out what may cause your pimples and
take steps to get rid of them.
Between 13 and 25, your body is growing
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Let Fleischmann's Yeast help you as it has
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matriarchal system is a form of social
organization as in certain primitive tribes
in which the mother is head of the fam-
ily, and in which descent is reckoned in
the female line, the children belonging to
the mother's clan.'
"That's us," laughed Joan delightedly.
"I am now a matriarch. My household is a
matriarchy. There is but one exception,
in my case, to the definition given in the
dictionary : that is, the business about the
children reckoning their descent from the
female line. Melinda is Melinda Markey,
of course. Ditty is Dianna Bennett
Markey. When Gene and I were mar-
ried he gave Ditty his name. It seemed
absurd to us for sisters to bear different
names, so we made them alike.
Gene comes to see Melinda twice
every day. He takes both of the children
out with him frequently. Ditty is as crazy
about him as Melinda is. We are all com-
pletely friendly. Gene and I have dates
quite often. I think that the only way
divorce can be ugly for children is when
the parents make it so by being ugly about
it themselves, by indulging in a mental
tug of war, with the children between
them. Nothing of the sort is the case
with us. We have departed thus far from
the primitive.
IT was, and is, simply that a woman with
a career has a dictator complex and
you can't conceive of a dictator who would
'share and share alike' even so much as
the morning paper, now can you?"
"That's the way it is with me," said
Joan. "Including the morning paper. I
like to get it first. I don't like it when
someone else gets it and musses it up
and then passes it on to me. That's sort
of symbolic of the whole. I like to have
my meals when / like to have them. If
I don't want luncheon at one and dinner
at eight, I don't want to have to have them
at those hours. When there is a man
in the house there must also be a routine.
"I want to be able to come and go as
I please. Last year I did 'Stage Door'
on tour. I was gone about six months.
I took the children with me. Ditty went
to school in Connecticut, Melinda traveled
with me and thrived on it. And it is cer-
tainly beneficial to adults. I was getting
into a rut before I did that play. I never
intend to be in a rut again. I want to
do a play every year. Now, when you
have a husband to consider, you can't
just pick up and go off for months at a
time, even when it is good for your
career. And I feel that to do that play
was necessary to my career. It happened
to go very well and that gave me a self-
confidence I very much needed.
"When I come home from the studio now
and feel tired and want to go to bed and
read, I don't have the uneasy feeling that
my husband is dining alone, listening to the
radio alone, probably wondering who ever
thought up this idea of the emancipation of
women anyway ! It's an unnatural state of
affairs, a career woman and marriage under
the same roof.
"I like to do everything I do well,"
said Joan seriously, "or not at all. I much
prefer trying to make a success of my life
as a mother and as an actress, than trying
to make a semi-success of marriage, too.
I detest half loaves."
We were talking, Joan and I, in the
living room of her new house in Holmby
Hills. This house that Joan built is a house
so femininely lovely, so comfortably, un-
niovie-starishly lovely.
And yet, as we talked, I began going
over in my mind some of the things I know
about Joan. Contradictory things, at first
thought, but working together to make a
composite picture of this Lady Alone.
Joan, the youngest of the Bennetts. Yes,
but whenever the girl's mother has a
problem to solve, it is to Joan she turns.
Whenever Richard Bennett is ill or in
doubt about something, it is to Joan he
wires or cables.
Joan was once shy, self-conscious, timid.
This came about because she is the youngest
sister of Connie, strong-willed and defi-
nite, of Barbara who is vital and vigorous.
She's the youngest in a family who were, all
of them, famous and colorful, so that the
young Joan found it all too easy to take
the well known "back seat."
Then, Joan is near-sighted. Time was
when this made her self-conscious, when she
tried to conceal the fact by various pitiful
little subterfuges. She has to wear glasses
for reading. She can't recognize people
when they are seated across a room from her.
Only a short time ago Joan would
hastily wtiip of? her glasses before she
entered a public place. She would have
run rather than be photographed wearing
them. Joan has worked out of all this.
And when, recently, a smart magazine
asked her to sit for her portrait, wearing
her glasses, she sat for it without a quaver,
the picture turning out to be as distingue
as the subject.
THERE is not a lazy bone in Joan's slen-
der body. Even when she is not working,
she is up every morning at nine. She then
goes through a routine of posture exercises
because she feels that she tends to be round-
shouldered. Three times a week she goes
to the public ice-skating rink and skates,
because she feels that nothing gives you
the poise and grace that skating does.
She makes out the menus at home. A
splendid housekeeper, she is also a thrifty
one. If she has a very expensive dinner
one night, she will plan an inexpensive one
the next night. Lamb stew. Meat loaf.
She makes out the children's menus. When
they were traveling East last year she
spent her time on the train planning the
children's menus for three weeks in ad-
vance. As there is a difference of five
years in their ages, she had to make out
two complete sets of menus, one for each
little girl.
When she entertains at dinner — she
never has large parties, usually dinner
for six — she knows exactly what each
guest had to eat when he or she dined with
her six weeks or six months previously.
And she sees to it that that guest does
not have the same menu again.
Joan always has her evenings planned
far in advance when she entertains. Be-
cause she herself plays neither Bridge nor
any other parlor games, she usually has
tickets for the theater, takes her guests
to a night club or provides entertainers for
them at home. Whatever is decided on,
is planned, right down to the last detail.
And so, as my thoughts of her took
shape, I began to see Joan as the matriarch
she says she is, in spite of her delectable
femininity ; a new kind of matriarch, young
and beautiful, not full of years and stern,
as one formerly imagined a matriarch to be.
Now I wondered whether the answer to
"After Divorce — What ?" might not be
Joan's answer — a matriarch, women with-
out men, women alone ? It seems that
Joan is making a happy — nay, brilliant —
success of it.
For
^
TISN'T SO!
(Continued from page 43)
you consider Olympe's background there's
not a doubt in a carload she will do just
what her little heart desires.
Her advent into this world, just two
years after the World War, created a
crisis. Momsie and Pop Bradna were
the featured act in a Paris theatre and the
management feared the act couldn't go on
for days. Papa fooled them. He went on
solo and did things up brown. In fact, so
loyal to the management was he that his
offspring was named after the theatre —
called Olympic. At the ripe old age of
eighteen months, little Olympe made her
debut, carrying a flag twice her size. She
did her task so well that hope was held
out for her future and the Bradnas began
training their tiny daughter.
DEFORE I came to America, I worked
many years throughout Europe,"
Olympe modestly reported. "I even did
some pictures in France, Yes, three, but
I never thought at the time I would become
a picture player. I was used to working in
the circus and touring shows. The only
thing I didn't like about that was touring
forever. In pictures, you have a home
and live in it. But, when you tour you
have a trunk and live in it!
"When I was eight, Mama and Papa
decided that I could do an act alone. By
then I could dance and sing some. So
I went into a small theatre for a time and
was lucky enough to get into the 'Folies
Bergere.' 1 was quite successful in this
and made Mama and Papa quit working.
They had supported me long enough. It
was my turn now ! They criticized and
taught me everything. After doing 'Hit
the Deck' for some time it was decided to
send a company to America and they
chose me. We went to Chicago and played
eight months. After that I came to the
French Casino in • New York and stayed
six months. My act was mostly acro-
batic dancing with a little ballet.
"While there Mr. Serlin gave me a
test and signed me to do dancing spe-
cialties. They didn't know I could act
and I didn't tell them. I got a part in
'Souls At Sea,' and a chance to act. I
think I was good, but I've lots to learn or
I wouldn't have to go to school. I finish
this month though, so maybe I'm learning.
What you think, no?
"It was very hard, at first, for me to
learn these English, but now that I can
speak it, I like it better than ever. I will
be American soon, in 1940 Mama says !
But, I want to go back to France ! Oh, only
to see my friends, not for good. It's over
here I will stay, for in California we have
a home. It's out from Hollywood and we
love it. I don't know many people out
there. When you have to get up at seven
o'clock and go to work you're in bed by
ten so there isn't much time left in which to
meet people.
"You know, after I finish 'Souls At
Sea' they think I can act, but they are not
too sure. So, for three pictures they give
me small parts till they make up their mind.
Fmally they have decide and I go to
work in 'Stolen Heaven.'
"I've been making personal appearances
since I left California. Finallv, when I
got here in New York they wanted me to
go on with Gene Raymond the first day.
I did and had such fun with him. In
the dressing-room after the show I said,
'Gene, there's a girl who wants your pic-
ture ^ autographed. Will vou give it to
her?' He said of course he would and
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sat down to write it, then stopped and
said, 'Who shall I autograph it to?' I said,
'To Olympe Bradna' and we had a big
laugh. But, I got the picture !
"He has a very nice wife, Jeanette Mac-
Donald, and every week on the day they
were married he gives her an anniversary
present. She must be an awful expensive
wife to get a present every week ! Gene
says that after this time, he's going to do
it only once a year."
Olympe Bradna's career is jn Hollywood.
These appearances throughout the country
have shown her boss just what a puller this
young Miss is at the box office. And,
Olympe's enjoying every minute of it, too,
from the time she met Mrs. Roosevelt to
that memorable occasion when a cocktail
party was given in her very own honor at
the famous Waldorf.
"You know the funniest thing hap-
pened," exclaimed Olympe. "They gave a
party for m'e in the Blue Room. We sat
and sat, but no one arrived. Finally, they
said I could go for a walk till they ar-
rived. Over here you're not supposed to
be on time to your own party. We came
back and still no one had come in, so out
we went for another walk to Fifth Ave-
nue this time. I was glad because I saw
some more of New York. Anyway, when
I got back the second time we discovered
■there were two Blue Rooms and everyone
had been waiting in the one downstairs,
finally leaving. Only a few — about four
or five — had found out and come up. I
didn't mind and we had lots of fun. Ernst
Lubitch was there and I drank so much
orange juice I nearly turned into a grove."
Just then the press agent from her stu-
dio arrived. "Olympe, we have to hurry !
You know, they have a photographer wait-
ing to take pictures of you," and so the
French lass departed.
HE'D RATHER RE HIMSELF
(Continued from page 42)
His awareness came about, it seems,
when a lady columnist unfeelingly dubbed
him "Richard Dimples Greene." Made him
sensitive, that's what it did. And let him
in for no end of ragging at the studio.
Poor Greene was "dimpled" all over the
lot. But he took it like a good sport — and
there's none better than the English brand.
"It hadn't occurred to me that I looked
at all like Power," said the two-faced
truth-teller. "Met him the other day, and '
had a drink with him. Fine chap. Saw
Taylor at the Trocadero one night, though
I wasn't introduced to him. Just as well.
I daresay it might have embarrassed him.
I know I'd have felt a bit silly.''
It was only natural to think his must be
an embarrassment of riches. But he went
on quite irrelevantly, or not, as you please,
"But I did meet Barbara Stanwyck in the
wardrobe department the other day, and she
is a delightful person."
HE and Taylor both are of one mind in
this respect, at least. But Mr. Greene's
own true love, let it be known, is the
American automobile. He's quite mad
about it. In his romantic bursts of speed
anything less than eighty miles an hour
means merely idling along the primrose
path. Meanwhile the studio has picked one
of its fairest flowers for him to wear upon
his arm of nights in the sweet uses of ad-
vertisement. Yes, the old familiar pub-
licity gag. Not that he isn't capable of pick-
ing his own, for no girl is apt to keep
Richard Greene on the cold side of her door.
"The night spots here," he glowed,
"are the most attractive I've ever seen.
Gorgeous ! I suppose it's the exotic tropi-
cal influence. There are so many foreign
influences at work that their effect is seduc-
tive. Yet Hollywood as a whole is amaz-
ingly moral. I didn't realize that the movie
citadel could possibly be so completely and
uninterestingly respectable."
Shades of Victoria! There spoke the
wisdom of age in the voice of youth. On
the sunny side of twenty-four, Mr. Greene
was, of all things, a philosopher of morals.
Was it that, after New York, he had found
Hollywood wanting?
"I had no means of judging New York
morally," he was frank to say, "as I was
there only two hours. I felt like a real
hick. The studio gentleman who met me at
the dock semed to think I'd never been in
a big city before. He held me on a corner
explaining the traffic lights, which I per-
fectly understood, then shepherded me
across the street like a small child. It was
good of him, but not necessary. From
what little I saw of it New York was
exactly as I'd imagined — crowds, noise,
and skyscrapers. I got a crick in my neck
looking up at them. Everything looked
just as I'd seen it on the screen at home.
But Hollywood wasn't at all as I'd ex-
pected. I had pictured it as the movie
capital of the world, with actors in make-
up rushing through the streets, and glamor
hitting you in the eye at every turn. But
to my surprise and disappointment it turned
out to be a most orderly and well-behaved
suburban city.
"But my ambition as an adventurer was
realized when I saw my first palm tree.
It made me feel really traveled. And the
thing that impressed me most of all was
the desert — lonely yet beautiful."
It crossed my vagrant mind that the im-
pressionable stranger might have found
Hollywood girls likewise beautiful, though
not so lonely.
"I suppose," he reflected, "there are more
pretty girls here than anywhere else in the
world, and when lovely they are really
lovelier. But I can't stand a dull girl, no
matter how beautiful she may be. I like
a girl I can talk to, and you can't talk to
a face, can you? When it comes to that,
you can't talk to an English girl at all
unless you know her really well. It's far
easier to get on with an American girl.
Her naivete is very . appealing. This is
especially true in the daytime. That's be-
cause she looks best in tailored things — no
one else can wear them so well. Then,
too, the American girl seems to have such
a good figure."
Seems ! No matter. He was saying,
"Knowing American slang has helped me
enormously in getting on with the girls
here. I'd heard so much of it in Ameri-
can films at home that it really wasn't
new. The only thing that bothered me
was my English accent. I was afraid it
would be laughed at. But I've already got
rid of most of it, wouldn't you say?" I
would, and did, to his evident relief. "I
don't mean the affected English accent. No
good actor has that. My family never had,
and it represents three generations of
English actors.
"My first ambition was to be a veterinary,
as I'm very fond of animals. But, some-
how, I went the way of the rest of
the family. What's really strange is that
I'm now in Hollywood. I'd done prac-
tically nothing but crowd work in English
pictures and only repertory work in the
provinces until they put me on the London
90
MODERN SCREEN
stage in 'French Without Tears.' Then,
to my great astonishment, I had three offers
from Hollywood. When I finally worked
up courage enough to take the plunge 1
first thought I'd buy a car in Hollywood
and have other things I wanted. Then
suddenly I got scared. If someone had
come along and offered me five pounds a
week I'd have stayed right there in Eng-
land. What did I know about pictures?"
EVEN now, after staking his future on
the turn of the camera, the engaging
tyro knew nothing of the results of his
work, had seen none of the "rushes." But
studio enthusiasts who did look at them
had gone to such lengths of language as to
declare, "He'll knock 'em dead !" One fel-
low actor did nearly that for him. It hap-
pened in a fight scene, with various huskies
mixing it up and a yacht-depth tank of
water to make the brawl still more ambi-
dextrous. A fist swung out and caught
the innocent from abroad on the point of
his chin.
Now that incident might have been part
of the directorial purpose of John Ford,
who has his full share of an Irishman's
love of fight. Possibly, but be that as it
may, young Greene went down with great
success. But he picked himself up, weaved
forward, and dived into the tank. Mr.
Ford nodded his head in serene approval.
The kid could take it.
"My grandfather, Wallace Davidson, was
the one to buck me up," said Richard
Greene. " 'God bless you, my boy, and
keep you on the front side of the screen.'
My grandfather was the first to exhibit
films in England at a time when they were
shown on both sides of the screen. Spec-
tators at the rear saw the picture in re-
verse for a smaller fee than was paid by
those sitting in front. He added the ad-
In "My Lucky Star" Sonja
Henie and Richard Greene
make a comely couple.
vice, 'Keep your head and save your
money.' Secretly, I swore I'd spend my
first American money for a car. I have
a small one, and with it I've found some-
thing I like best of all here — the drive-in
restaurants. I've gone to every one in
Hollywood and Beverly Hills. It's great
fun sitting in a car and eating one's meals.
We don't have 'em over there. If ever I
make enough money to do it I'm going to
open a 3rive-in place in London."
That sounded as though he were already
planning to return to roast beef and York-
shire pudding. I looked disappointed.
"As far as I'm concerned," was his in-
stant reply, "they can keep me out here
for the rest of my life. I've been so bitten
by California that it seems like my second
home. All I ask is that they let me be
myself. I want to be judged by my work,
not by any accidental resemblance to some-
one else. And I don't like gush. Acting
is a profession, and has nothing to do with
the personal side of anyone in it. I hate
having that side brought out. Being called
'Dimples,' for example, drives me into a
white lather of fury. I don't mind what
work they give me to do just so long as
they let the rest of me alone."
He turned to the fish he was having for
lunch. And as our chin-wag happened to
be on a Friday, it was my guess that this
Englishman has a dash of Irish in him.
Fish aside, I take him to be a good trench-
erman. Certainly the eupeptic look of him
suggested good red meat. His face held
none of the pallor exhibited by some of our
stars. Here is one movie actor who car-
ries his own color.
"After my Hollywood baptism, I'm now
going to try frozen water," he laughed.
"I'm doing a picture with Sonja Henie —
she's delightful — and it's great fun. I can
go fairly fast on skates, but the trouble is
I can't stop. That proved most humiliating
at a rink in England one night when the
band played 'God Save the King' and
everybody stopped — everyone but me. _ I
went round and round till a shocked assis-
tant grabbed me. I needed practice. I still
need it, so I'm going over to the set. Come
along?"
As we ambled down a studio street the
alert Mr. Greene was calling all cars by
their right names. Presently he stopped in
dumb admiration before a long and glit-
tering automotive masterpiece. The next
moment he was flat on his back beneath it
raptly gazing at its expensive underpinning.
I had a deal of a time extricating him.
Oh, well, small car or big car, that boy's
certainly going places !
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AM I HOMELY!'
(Continued from page 31)
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faces I have ever seen. Oh, there are
times, when I am dressed to go out in the
evening, when I catch a slight glimpse of
myself and think, 'Not so bad, Davis, not
so bad.' The only other allowance I can
make for myself, and it's rather a plaintive
one, considering how I have just described
my eyes, is that, buU-froggishness and all,
my eyes are really my best feature.
"And I love beauty, too," said Bette
fiercely. "I envy beautiful women. I love
sumptuousness in every way. I'm not ex-
travagant, but I would certainly adore to
have one wild splurge in my life. I'd love
to buy myself luxuries from the skin out.
I'd love to have my room entirely cleaned
out and then begin all over again, with
every single thing new and simply too ele-
gant. I'd like to have wonderful under-
wear, which I've never had in my life.
I'd love to have dozens of pairs of mules,
the kind that look like butterflies on the
feet. I'd buy dozens of dresses, with mil-
lions of accessories. I'd buy ten skin
sables, the kind that goop all over you.
Not minks nor ermines. They don't mean
a thing to me. I'd buy dozens of wonder-
ful tailored blouses, the kind that Clau-
dette Colbert wears so often. Just once
in my life," cried Bette, "I'd like to sow my
wild oats about luxuries.''
And as Bette went on, indulging in her
mental orgy, I thought that she was doing
a better job of skinning the star and re-
vealing the woman beneath than even she
knew. For with this confessed love of
luxury has gone a common sense, a bal-
ance, an economy of living which, like
giant indicators, point to a character which
deserves a hand off the screen, as well as
on. For Bette has, in every way, lived her
private life as her husband's wife, thus
proving a rare sensitiveness to a situation
which could have been intolerable to any
man, and usually is.
I CAME to to hear Bette saying, "If I
have anything to offer professionally,
it's certainly not my beauty. It is, if any-
thing, reality. It's the love of being other
people. That's something I was born with.
It's something of the same quality, if I may
make so proud a boast, that Spencer Tracy
gives — that sense of reality so real that
you believe he is the character he is play-
ing. I love to be other people and I be-
lieve that I give to the 'other people' I
play a certain uncompromising honesty.
Also, I'm conscientious about my work._ I
strive to please. I treat my work as a job
to be done as competently as possible. I
don't pull cute tricks on the set. I don't
waste my time or the time of others by
being late for work, by not knowing my
lines. I realize that other people are there
to work, too, not to play audience to
Davis being the diva.
"I love fame. It's a bad business to go
onto the stage or screen just for the sake
or the hope of becoming famous. But once
you're in the profession, fame is your
tangible reward. I thank God for auto-
graph seekers ! Annoy me ? I love them !
But for the fact that people recognize us,
we would have no visible indications that
our work is being appreciated. I love ad-
miration. I eat it up. I don't always be-
lieve it, but it's tonic just the same. I
love people. I can't bear to be alone for
four minutes.
"You said you wanted a personal story?''
Bette went on, with that vehemence which
is a Davis characteristic. "Well, you're
getting one. I'm practically taking myself
to pieces, turning myself inside out. I'll
now trot out all of my little virtues and
most beastly little vices and set them up in
neat rows like the nine-pins children play
with. This should be the Davis story to
end "all Davis stories, for it is the ivhole
truth.
"Of my' virtues, the greatest is, that I'm
considerate of other people. I sort of seem
to know how other people feel, not only
how / feel, which is awfully white of me,
wouldn't you say?" (I would say, and so
have others . . . such as the prop man
Bette rescued from going to jail when he
was arrested, a frame-up, for drunk driv-
ing. Bette came to the rescue, then, with
money for bail and money for a lawyer,
time and money both . . . and saved the
fellow from a miscarriage of justice and
from imprisonment . . . and Margaret,
Bette's hairdresser, who told me that Bette
will hurry with her make-up, do her own
hair if necessary, when she knows that
Margaret has a date and would like to
get off early . . . ) "I appreciate things
people do for me," Bette was saying.
"My worst fault, the one that sticks its
ugly head out beyond its fellows, is my im-
patience with slow-thinking people, stupid
people. I cannot suffer fools gladly. I
simply can't. I'm intolerant of incom-
petency in servants. I'm intolerant of in-
competency in any job. If my car is dirty
I'm simply furious. If a servant pol-
ishes only one vase a day I want that vase
polished flazvlessly and if it isn't I am very
disagreeable about it.
"I'm intolerant of false flattery, the
brand saleswomen hand out when they tell
you that you look too, too divine in a hat
which you know makes you resemble a
starving Armenian. I'm so intolerant of
that kind of false flattery that I feel posi-
tively ugly about it.
"I'm fairly intolerant of people who
don't fight for what they want from life;
people who sit back and sigh with puling
patience and say, 'It's the breaks.' They
are always the people who, when things
are riding high for them pat themselves
on the back and say, 'What a bright boy
am I !' I can't bear people who are
always expecting other people to do for
them what they should be doing for them-
selves. I never answer letters frorn girls
who write and ask me to 'get them' in the
movies. There's only one person who can
get you in the movies, or anywhere else,
and that's yourself. No one ever 'got me'
"Wasn't that killing?" William
Gargan asks Frank Morgan.
And merrily they laugh!
MODERN SCREEN
anything. There's a youngster in our pic-
ture right now. She came to the casting
director of this studio every single day for
six months. The first time she came he
told her that she was overweight. She
didn't go home and whine and say, T can't
get into pictures, I'm too fat.' No, she
went home and lost weight and came back
and continued to come back every day for
six months and didn't ask for help or so
much as a hitch-hike from anybody. And
here she is and she's got a nice talent and
you'll see her in 'Jezebel.' Her name is
Janet Shaw and she'll go places because
she uses her own brains.
"I can't stand pale martyrs. I adore
people who go out and get what they
want. I even admire this gal I'm playing
because she goes out and, come hell or high
water, gets her man.
I CAN'T bear people, professionals, who
discuss their 'marriage problems' in
print. In the first and last place, when a
marriage becomes more 'problem' than any-
thing else, it's time for the parties thereof
to divide the books and go their ways.
"I will not discuss my marriage," yelped
Bette. "I'm all through with that. If my
husband were an actor, it might not matter,
publicity would then be his natural ele-
ment. But Ham isn't in pictures and it's
embarrassing for him to read about his
private life in my publicity. Besides, I
have no marriage problems. Hateful word,
problems. I have no more problems than
does the wife of a boiler-maker or the wife
of a traveling salesman. For if a woman
is in love with her husband there are no
problems. It's only when she falls out of
love that she begins to figure how much
she is putting up with.
"I'm not affected by the rumors, the
grapevine system of Hollywood, which,
with its little slanderous shots and tattle-
tale tendrils, coils around so many hearts
here, so many marriages, crushing the life
out of them, and the faith. If there's any-
thing important going on in our lives.
Ham's and mine, we won't have to read
about it in the newspapers. We'll go to
press first."
"Let's see, what else? I'm a doggone
good housekeeper. My mother drilled that
into me with an iron rod. I try to be a
wife as well as a moom pitcher star, and
so far there have been no complaints. I
keep my house myself. I mean, I order
the meals, with an eye to the things Ham
likes to eat. I inspect my ice box and
cupboards as a good New England house-
wife should. I count the linens, send Ham's
clothes to the tailor, inspect bureau drawers
and usually put them in order myself.
"I love to talk. It's my favorite pastime.
"I'm not the maternal type and I know
it. I would make the most ghastly mother
that ever lived. On the other hand, if
ever I have a child, and I hope I do, I
might turn out to be one of those doting
mommers with complexes about sterilizing
everything the child touches, even to boil-
ing the woolly lamb.
"I'm horribly possessive. I love the feel
of things being mine. I could never adopt
a child because I would have to feel that
the child belonged to me, was my own flesh
and blood or not at all.
"I'm not happy. I'm absolutely fright-
ened to be happy, afraid something might
happen. I'm superstitious about it. I'm
like the Chinese peasant who shields his
sturdy little son from the vengeance of the
jealous gods by hiding him with his body,
crying out, 'He's a poor thing, Lords, he's
ugly and pock-marked and shrivelled.' So
I deny my happiness, crying out, 'I'm not
happy, Lords, I'm a poor miserable wretch,
do not envy me to my destruction.'
"And there is no reason why I should
not be happy. I am happy in my home.
I am happy in my marriage. I am happy
in my work because I love it. I wouldn't
give up my work for anything in the world,
nor for anyone, not even to save my own
heart from breaking.
WHEN I'm not working I like to go
away for week-ends. Or I catch up on
my reading. Now and then we have a few
friends in for an informal supper party.
Most of our friends are writers. We never
go night-clubbing.
"My favorite foods are potatoes and
chocolate bread pudding. I adore them.
"I loathe orchids and those big corsages
that always wobble all over me and ruin
my dress. I love lilies of the valley, little
sprays of them, to pin at my throat, waist-
line, wherever I please. I'm tritely fond
of gardenias. Among my favorite film
stars are Garbo, and, of course, Spencer
Tracy. I want to play Ibsen's 'Wild Duck'
on the screen. I'm skeptical about people.
I don't trust people until they've stripped
themselves to the bone, so that I can see
how their hearts beat and of what stuf¥
their spirits are made. That's one thing
this town called Hollywood has done for
me, turned a trusting little New England
girl into a cynic and a skeptic !
"And now," said Bette, quite savagely,
smashing out her cigarette with enough
vigor to damp down Vesuvius, "now bring
on your candid cameramen, ace interroga-
tors, cross-examiners, and see if they can
dig up anything I haven't told on myself !"
Limply, I followed lively Bette to the set
and, unamazed, watched her get her man.
Freshness
is the special charm
of Old Golds, too!
Binnie Barnes lias the fresh
beauty so often found in her na-
tive Britain. After successes on
the London stage, her movie roles
under the direction of the famous
Alexander Korda led to a Holly-
wood contract in 1934. (See her
in Goldwyn's "Marco Polo".
Every pack wrapped in 2 jackets
of Cellophane; the OUTER jacket
opens from the BOTTOM.
THE most priceless and perishable charm
a star — or a cigarette — can have, is
freshness. No effort, no expense, is too
great to guard it. For if it fades, down
goes "box office appeal".
Hollywood spends fabulous sums to
prolong the freshness of its stars. Old Gold
spends a fortune to protect — for you — the
freshness of prize crop tobaccos.
Just as too much exposure coarsens
beauty, so dryness, dampness and dust rob
fine tobaccos of smoothness and flavor.
To give you Old Golds at the very peak
of appealing freshness, every Old Gold
package is double-sealed, in 2 jackets of
moisture-proof Cellophane.
Try a pack of Double-Mellow Old Golds,
and discover how much factory-Jreshness
adds to your smoking pleasure!
TUNE IN on Old Gold's Hollywood Screenscoops, Tues.
and Thurs. nights, Columbia Network, Coast-to-Coast.
93
MODERN SCREEN
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BETWEEN YOU
HERO HEROINE VILU/MN
"Why should an actor once
typed remain so until dooms-
day?" a Minnesota fan pleads.
$5.00 Prize Letter
I Confess
If you'd walk down a certain street in
Seattle you'd see a legless man seated on
a corner selling his pencils and needles. No
matter how hot the sun, no matter how
cold the wind, he's always there. If pur-
chases aren't made, people stop to chat and
leave a coin in the cup with the comment,
"I don't see how you can keep so cheerful
just sitting there hour after hour. It's a
pleasure to talk with you. . . ."
And then I say, "Well, I get it from the
movies !" Twice a week a neighbor takes
me to the movies, otherwise I couldn't go.
I go to the movies for something real, not
just make-believe. And I get it. I'm ad-
mitted into a land of youth and romance,
a land where the memory of happier days
is jogged, days when I was young and
whole and dashing like Fredric March,
when I had a wife like Norma Shearer
and a son like Freddie Bartholomew.
There, in the darkness of the theatre I feel
a human warmth and sympathy, the world
is brimming over with kindness, sparkle
and interest.
Perhaps I'm tired of just sitting on a
corner ; I want to move, to feel free. There
in a Western I see myself making a mad
scramble for my broad-rimmed hat and my
favorite "painted boss" and my craving for
the far, green hills, wide plains and fast
riding is satisfied.
The movies have not only given me con-
solation, intelligent information and ro-
mance, but they have taught me to be
brave, to have faith and courage. "Seventh
Heaven" brought me my favorite philoso-
phy : "Never look down, always look up."
The movies — God bless 'em ! — M. Matthews,
Seattle, Wash.
$2.00 Prize Letter
Please, Don't Type Them
Did you see Irene Dunne in "The Awful
Truth" and try to imagine her as she was
in Magnificent Obsession?" Did you see
"Night Must Fall" and picture Robert
Montgomery as the charming Piccadilly
Jim? Did you see "Parnell" and remember
Gable in "It Happened One Night?" If
you did, you're a fop ! and I can imagine
how, much you enjoyed each picture. Yet
one of our ardent fans writes to tell us that
once you are typed on the screen you must
remain in your particular groove until
doomsday as far as he is concerned. To be
specific — if you have the misfortune to play
a swashbuckling villain well in several
plays, you are doomed to remain in that
category for the rest of your screen career.
One honorable commentator goes even
further — he cites an example. It seems that
in the role of a priest in "Captains Courage-
ous," Jack La Rue caused quite a sensation
— due to his previous gangster pictures.
Our "typester" says that when Jack came
into the scene as a priest the audience
howled. Now I saw this picture twice, and
I don't remember the "howling" at any
time during the entire feature. May I add
that if anyone was fool enough to laugh
at Mr. La Rue in that scene, regardless of
the nature of his former roles, I hope with
all my heart that he bit his tongue.
I'm not advocating actors taking parts
they cannot handle, but I do say that it
doesn't hurt to try different characters so
that they won't become "typed." The word
"act" means to be able to portray all kinds
of people and all kinds of emotions — and
anyone worthy of the name "actor" should
be able to step from one role into another
with comparative ease. Don't, oh, please
don't type our villains — let them have more
than one screen personality — give them a
chance to show what they can do. — E. A.
Nelson, St. Paul, Minn.
$2.00 Prize Letter
Is That Relaxation?
I have just returned from a section of
the country where the double feature pro-
gram has made little headway. What a
pleasant change it was upon several occa-
sions to leave the theatre after a two-hour
varied program, feeling refreshed with a
bit of comedy, broadened by the news,
mentally stimulated by a brief educational
feature, and inspired, perhaps, by the main
feature. Mind you I said two hours !
But, woe is me, upon returning to the
metropolitan area, I find that the double
feature program is still packing them in
at the neighborhood houses, and I'd like
to know why !
Unless I foresightedly inquire the show-
ing time of the feature presentation, I must
sit through an inferior quickie, coming at-
tractions, advertising, and maybe bingo or
bank night before the title I've been wait-
ing for is flashed on the screen. After
three or three and one half hours of twist-
ing and squirming to ease my — er — posi-
tion, I leave the theatre, nigh onto mid-
night, with an aching back, a splitting head,
and my bones fairly screaming protest.
Now I ask you, is that relaxation? — Har-
riet Bossard, New York, N. Y.
$1.00 Prize Letter
Is it Fair?
Is it fair? I ask myself that question
every time I read about a "new discovery"
— a star over night.
Many of our foreign stars have been
ushered to success over night — some justly,
some unjustly — but what about our little
starlets who strive for their big chance and
get the cold shoulder from their studios?
What about those grand little beauties who
play bit parts, sometimes stealing the show,
94
MODERN SCREEN
9
N' ME
Have your say! Why shouldn't you be the lucky
winner of one of our nine monthly cash prizes ?
MOVE COVJDOVP^
ViCQC TOUGU/
From a young lady in Seattle
comes the cry for tougher and
rougher Westerns.
but who continue to play these parts until
the public recognizes their names ? They
receive practically no notice from the press
until after three or four years and there
at least they might get a break.
I cite the example of Marie Wilson.
I have watched her every inch of the
way. When I read of her getting the lead
in "Boy Meets Girl," I gave a sigh of
relief. "It's about time !" said I. Why that
gal's grand — such comedy, such a person-
ality, and real beauty, too ! But how long
has it taken Mr. and Mrs. Movie Fan and
all the little Movie Fans to recognize her?
Not because they didn't enjoy her vi'ork !
Horrors, no.! But because they saw her
occasionally, enjoyed her, but not seeing
her again for a long time, forgot her. If
her studio had played her up big, like some
of these overnight sensations, Marie would
be right on top today — and rightfully, too.
Why is it some stars have to take the
hard road — and others such an easy one?
Is it fair ? I'd like an answer ! — Norma
Sharp, Collingswood, N. J.
$1.00 Prize Letter
More Power to Westerns
Where are the good old Westerns?
There are, of course, films like "Wells
Fargo," "The Plainsman," and "Girl of the
Golden West," but it isn't the superproduc-
tions in which I'm interested. It's the
plain everyday horse-opera which you see
at the corner show or sandwiched in on a
double-featured bill.
Though they've been stream-lined and
bedecked with the most modern touches,
though the plaintive and beautiful cowboy
melodies add a romantic dash, the old up-
and-at-'em pattern with its stock situa-
tions is not the same.
Neither are the characters. The heroines
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too, that your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; two
second prizes of $2 each; six
prizes of $1 each. Address:
Between You 'n' Me, 149 Madi-
son Ave., New York, New York.
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95
MODERN SCREEN
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aren't as fiery and independent — remember
the spit-fires Ann Little, Neva Gerber and
Ruth Roland? The villains have a strain
of Sir Galahad in their Simon LeGree
make-up, while nature's nobleman, the hero,
is imbued with a streak of Don Quixote.
Even the rattle of the gun-fire isn't as
menacing as before. The old Westerns
were strong pictures ! Harry Carey's
"Start Reachin' " was enough to make me
hang onto the edge of the seat for weeks.
Bill Hart thrilled me more than all the
Taylors and Powers put together.
Then too, today the love interest is
tucked in just as if it were a necessary evil.
But the old silents made the love part
essential, vivid, alive. And Western stories
do it that way, you know. — Samela Park-
hurst, Seattle, Wash.
$1.00 Prize Letter
A Change for Sylvia
It's about time someone took the shadows
away from Sylvia Sidney and brought out
the sunlight that surely must be somewhere
within her. Every picture Miss Sidney ap-
pears in, she must be the morose, morbid
heroine, in the toils of the law, speaking
with trembling lips, eyes weary from cry-
iiig, and railing against humanity's un-
kindness.
I'm sure she is capable of carrying
brighter roles. Why not let her do a good
sophisticated comedy for a change? Any-
thing— anything to get her out of those
whole-world-against-the-girl roles. — C. L.
Mersich, San Francisco, Gal.
$1.00 Prize Letter
Unspoiled Shirley
It seems to me to be more than a happy
thought for Shirley's parents to take their
wonder child on a personal tour so that
the public can see at close range what an
honest to goodness real human being this
beautiful child is.
It was my good fortune last August to
be present on shipboard across the Pacific
with Shirley and her parents and at the
hotel in Honolulu where they stopped.
Naturally, I was intrigued and observed
things closely. To my mind, Shirley is
even more beautiful off than on the screen.
She had the most charming, unaffected
manners in the world — those of a natural,
unspoiled child with a spontaneous little
smile that won everyone's heart instantly.
Her parents seemed to me to be people
of rare good sense who, while keeping a
watchful eye over Shirley, were never
fussy, conspicuous nor seeking the lime
light, either for themselves or their famous
little daughter.
Another thing that struck me was the
really nice way the public behaved toward
Shirley. Always considerate and defer-
ential, they never crowded nor inconven-
ienced her in the slightest degree. She took
the homage as a matter of course, and still
remained, as I think she always will, the
same darling unspoiled Shirley. — Mrs. J. L.
O'Connell, Washington, D. G.
$1.00 Prize Letter
What Price Stardom?
If you'd enjoy living a private life like
that of the proverbial goldfish ; rising early
and working long hours under bright
lights ; dieting to the point of starvation to
thwart a few excess pounds ; having your
clothes torn to shreds by souvenir-hunting
crowds whenever you go out ; signing
autograph books 'till you have writer's
cramp ; having people gossip about you,
pry into your affairs, and invent all sorts
of stories about your past and present ;
being besieged by reporters whenever you
stick your nose out the front door ; being
told to dye your hair, have your teeth
straightened, to be nice to so-and-so be-
cause of the effect on your fans ; then, my
dear, you want to be a movie star. — Mar-
garet Forster, Welland, Ont.
$1.00 Prize Letter
The English Accent
Pardon my English accent, but there's a
fellow here by the name of Laughton who
has just made a film "Vessel of Wrath"
that in point of subtle artistry is way ahead
of his Hollywood performances. Of course,
there are only six hula dancers instead of
the three thousand chorines we have been
led to expect in modern spectacles.
But there is a certain quiet satisfaction
in viewing a picture that relies on con-
vincing acting rather than vulgar display
and I only hope that success will attend
such a praiseworthy production.
I like a good tap-dance or blues singer
as much as anyone, but the mass attack of
noise, numbers and nuts that seem to be
an essential feature of today's musical pic-
tures is sending me whacky. — John Lane,
London, England.
THE INFORMATION DESK
(Continued from, page 87)
Marcella Griffith, Paget, Bermuda. The music
for the picture "Robin Hood" was written
by E. W. Korngold. Music and lyrics for
"The Girl of the Golden West" were written
by Romberg and Kahn. Jimmy McHugh
and Harold Adamson wrote the music and
lyrics for "Mad About Music."
A. Spinelli, New York City. To sell 'movie
stories you should get yourself an experi-
enced literary agent who knows the require-
ments of the various Studios and can con-
tact the proper executives for you. These
days few stories are sold by the author
direct.
Katharine Beyer, Savery, AVyo. Gary Grant's
real name is Archibald Leach. Patil Muni's
name is Muni Welsenfreund. The Ritz
brotliers' name is Joachim. Fred Allen's
name is Sullivan.
Dorothy Beattie, Jackson, Mo. In "The Girl of
the Golden West" the part of .Teanette Mae-
Donald (Mary) as a child was played by
Jeanne Ellis. Yon can address her in care of
M-G-M Studios, Hollywood, Cal. Jeanette
MacDonald was born in Philadelphia, June
18, 1907.
Ruth Ness, Miami, Fla. Bing Crosby was born
in Tacoma, Wash, on May 2, 1904. He has
blue eyes, brown hair, is five feet nine inches
tall and weighs one hundred and sixty-five
pounds. His children's names are Gary,
Dennis, Philip and Lindsay.
Stanford Hale, Lake Sunapee, N. H. Full page
pictures of .lean Harlow appeared in MOD-
ERN SCREEN in January 1937, and Febru-
ary 19.37. If you will send ten cents a copy
to our circulation department you may se-
cure these back issues.
Yvonne Claret, Montreal, Canada. Ralph Bel-
lamy was born in Chicago on June 17, 1904.
He is six feet tall, weighs one hundred
seventy-eight pounds, has blue eyes and
light brown hair.
Shirley Owens, Shaw Island, Wash. The
names of the "Dead End" boys are Leo
Gorcey, Billy Halop, Bobby Jordan, Huntz
Hall and Gabriel Dell. You can address them
in care of Warner Brothers Studio, Bur-
bank, Cal.
Josephine Newman, Brooklyn, N. Y. Merle
Oberon's real name is Estelle Merle O'Brien
Thompson. She was born on the island of
Tasmania, February 19, 1911, of English
parents.
96
MODERN SCREEN
THE MYSTERY OF
MISS GAYNOR
(Continued from page 39)
that's chance. I haven't meant to stay
away from them. But it's chfficult, when
you've worked as constantly as I have.
When you're free, they're busy, and the
other way 'round. I've made my friends
probably as you've made yours. You don't
feel that because you write, all your friends
must be writers. You go along, you meet
someone, something clicks, and there you
are. One of my best friends is an actress,
one's my hairdresser, one's a doctor, an-
other teaches art . appreciation, others I've
met at the beach — all are just people I like.
It's so simple that it's hard to explain. Does
that make it a mystery?
"Of course, when you spend much time
with friends who aren't in the limelight,
that keeps you out too. At first, there was
another reason. I was terribly shy. We
jumped into the middle of things so quick-
ly." (The Gaynor "we" includes Janet
and her mother). "If I could have been
just a girl at a party, I'd have loved to go
to parties. But to be somebody people
stared at terrified the life out of me."
THAT was in the days when "Seventh
Heaven" catapulted her into sudden
prominence. She was wild with happiness.
There's never been anything blase about
her. A star among stars, she was as ex-
cited over their doings as a girl in Podunk.
But rather than venture among them, she'd
stay at home and get her thrills second
hand from Charlie Farrell.
It was Charlie who'd sally forth, top
hat and tails, into the wide world, then
come back and report to a wide-eyed and
eager Janet the marvels he'd encountered.
One night he'd dined with the So-and-sos.
"And you know where they ate?" His voice
promised a minor miracle.
"No. Where did they eat?"
"Well, you won't believe it. It's amaz-
ing. They didn't eat in the dining-room
at all."
"Not in the ! Well, for heaven's
sake, where did they eat?"
"On a bridge table ! In the living-room !
Right in front of the fireplace!"
"Not really, Charlie !" Next night she
and her mother would sit beaming at each
other across a bridge table in front of the
fireplace. "Do I look like a movie star
now?" Janet would demand.
That phase passed. Timidly at first, then
with more assurance, she stepped into the
Hollywood social stream. After a while,
finding she didn't care for it, she stepped
out again. "It's as if you'd gone through
an interesting experience, and all of a sud-
den you're back, living the life you've al-
ways wanted to live, where, if you use
the wrong fork, it doesn't matter."
Nor does it matter if you don't live
in a mansion among the stars. "We were
going to build a house like the rest of them,
had our lot bought and our plans drawn
up. Then we changed our minds. What
had started as a small house threatened
to turn into a white elephant. You see,
when you've lived in a place for a long
time, as we have here, you put up with
its disadvantages. When you build, you
want the earth — a terrace here, a huge
dressing-room there and all sorts of things.
One day mother said to me, 'We're going
to rattle around like a couple of peas in
that barn.'
"Then there were the servants." The
servants, as it turned out, compose a retin-
ue. First, there's the chauffeur who's been
There's harmony in those voices and rhythm in those tootsiesl
Left to right, Gale Page, Lola, Rosemary and Priscilla Lane.
97
MODERN SCREEN
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with them for eight years. "He's the first
I ever had, and I'm the first he ever had.
Isn't that nice?" she asked like a gleeful
child. Then there's Fanny, the cook. Fanny
came to her one day with the story of a
sister and brother-in-law in the East who
wanted to come to California. "Tell them
to come. We'll find something for them
to do."^ Fanny hesitated. "Also they have
two children," she finally blurted. Fanny's
sister is now the Gaynors' maid. Her
brother-in-law works out three days a
week, and takes care of the Gaynor garden
the rest of the time. The children go to
school. The roomy old house accommodates
them all. "But by the time you got them
into a house on a hilltop, it would be a
monster. So we're staying put," she fin-
ished contentedly.
She's done what's generally considered
impossible to a movie star — kept an origi-
nally normal sense of values, ignored the
unwritten law that in Hollywood you've
got to put up a front. Her beach home —
not at fashionable Malibu, but at Venice
where the oil derricks bloom — is just large
enough for herself and her mother. The
cook sleeps over the garage. A stranger,
spying her on the beach, would say, "Hm,
looks like Janet Gaynor, but it can't be.
What would she be doing in a place like
this ?" That's why she's there. She no
longer dreads the limelight. But she finds
herself more comfortable in the shade.
Because of her friendship with Tyrone
Power, her public appearances have grown
more frequent of late. A great deal of
nonsense has been rumored and written
on the subject of their romance. It's been
said, for example, that they fell in love
at sight. They first met on the set of
"Ladies in Love." Tyrone had been a fan
of Janet's for years, but he didn't venture
to tell her so. They worked in the same
picture, and that was that. Then one
night they met at a friend's home. They
began exchanging reminiscences of their
ushering days.
"My great ambition was to be promoted
downstairs," said Janet.
"You too? That makes me feel better.
They'd never let me come down from the
gallery either. You know what used to
keep me awake nights ? I'd be holding a
couple of seats — "
"I know. And a man would come in
and grab one instead of taking a single
farther back where you wanted him to sit."
"What did you do?"
"Gnashed my teeth and grinned. What
did you do?"
"Grinned and gnashed my teeth.'.'
That was how it started. Tyrone
took Janet home. They discovered they
had deeper interests in common — a passion
for books and ideas. Before long they
were spending all their spare time together.
Tyrone had met a woman who stimulated
him, Janet a man with a mind as eager
as her own. If they were also in love, that
was their business. They kept their own
counsel, as you'd expect them to.
THE business of the gossip-mongers is to
watch them like hawks, guess at what
they don't know. The formula is simple. If
they fail to appear at a nightclub for a
week or two, they're no longer friends.
The formula fails to take into considera-
tion the pleasure of quiet evenings beside
a cozy log fire.
Just about a month ago columnists
were featuring the news that "the Gay-
nor-Power twosome had gone on the
rocks.'' Janet was in Palm Springs. Ty-
rone was working in "Alexander's Ragtime
Band." Even as the tongues wagged, he
was hopping a plane, though his studio
forbids flying. Arrived at Palm Springs,
he spent thirty minutes with Janet, and
then flew back again.
Her pleasures are the quiet kind. "A
book, a game of golf, a phone call you
didn't expect, having a few friends to
dinner and talking it over 'round the fire
afterwards." She finds deep satisfaction
in adventures of the mind. Recently she's
taken to painting. It's not her creations
that excite her, but the fact that her eyes
have been opened to a new and glorious
world of color to which she'd been blind.
"I'm beginning to see rose and violet," she
said, her eyes sparkling, "where I used to
see only gray."
There's a core of quietness within Janet
Gaynor from which she seems to draw
both her cheerfulness and her strength.
Partly it's the fruit of her own living and
thinking, partly a heritage from the mother
to whom she's so close.
Laura Gaynor has the rare adaptability
that can bridge the chasm between two gen-
erations. She has been the companion of
Janet's lighter moments, and her bulwark
Elsie Reade,
Vyvyan Donner,
Frances Conier
and little Bar-
bara Devine en-
joy four o'clock
tea while mak-
ing one of Miss
Donner 's Movie-
tone Fashion
shorts. We won-
der what the tea
leaves tell.
98
MODERN SCREEN
in time of stress. Coming from a simple
Philadelphia home, she fought her own
shyness as her daughter did, and with
the zest for adventure of the young in
spirit, marched step for step with Janet
into the new life. They smoked their first
cigarettes, drank their first cocktails to-
gether. Every morning they play golf
together. Between them they handle Ja-
net's business. Mrs. Gaynor also shares
Janet's sense of values. On those few occa-
sions when fundamental differences have
arisen between studio and star, and Janet
has brought the problem to her mother,
there's been no question of choice for Mrs.
Gaynor. "Better make twenty-five dollars
a week and be on your own, than go
through the torments we've seen some
people go through."
"She'd be my friend, even if she weren't
my mother," says Janet. "Yet I'rn still
just her child, and when I make a mistake,
she tells me so."
Having learned something of her own
method of checking up on herself, you can't
help feeling that the need doesn't often
arise. Through all her years of stardom,
she has never for long lost sight of the
girl who used to usher in the gallery of a
San Francisco theatre, who used to clerk
in an antique shop in Chinatown for nine
dollars a week and go home at night, her
feet so swollen that she all but cried.
That other Janet keeps a firm hold
on Janet the star. She's frank to admit
that the star sometimes yields to the temp-
tation of acting like a star. "I'll go into a
bungalow and decide I don't like the color
of the curtains, and ask to have them
changed. But I'm always aware of this
other girl inside me, giving me the bird :
'Be yourself, Janet. Remember when you'd
have burst with joy at any curtains — let
alone a bungalow.'"
She sat silent for- a moment, then spoke
slowly. "I've been successful easily, so
I haven't the same right to talk as peo-
ple who've been through a great deal.
Neither do I mean to sound as if I'd read
two pages of philosophy and was trying
to give it all out again. But even a movie
star," she smiled, "can't help thinking.
"I never get into an elevator without
feeling how awful to have to make this
thing go up and down, up and down all
day. I never go into a beauty shop with-
out feeling a little ashamed. You know
how hard those girls work. I drive up in
a car, a chauffeur helps me out, I have
nothing to do but relax for a couple of
hours while they fix me up. 'Are you tired?'
they ask me. 'Are you getting enough
rest?' And they mean it. It's not just a
sales talk. I often wonder how they can
keep that attitude when they have so little
and I have so much. And I've never
wanted anything more than to feel I might
be like that, if all this were ever taken
away from me.
"Don't misunderstand me. It's lovely to
have lovely things. When I was in Venice,
I bought some Venetian glass. It was my
first visit and I thought, 'Here goes. This
time I'm going to do it up brown.' Of
course I enjoy having it and looking at
it and using it, because it's beautiful. But
what if I worried every time it was brought
out ? What if I kept thinking, suppose some-
body breaks it? I'd be letting it make me
miserable instead of happy, deliberately
hurting myself — for what? I never want
anything to possess me so I can't let it go.
BECAUSE in the final analysis," said
Janet, a curious gentleness in her voice,
"though things can possess you, you can't
possess anything — but yourself. Suppose
you're in love. Who tells you it's going
to last? Suppose you're happily married.
Who tells you an accident won't destroy
your happiness? What's inside yourself
— that's the only thing in this world you're
sure of. That's what you have to live with.
So why not make the best you can of it?"
There is no mystery — at least, none of
Gaynor's making. There's a girl who's
passed through the glitter, and come out at
the other end, serene, wise, kindly, com-
passionate. I remembered Tyrone Power's
saying to me once, "Janet makes me feel
more alive than anyone I've ever met.
She starts things going in my head that
I never knew were there. She'll make a
casual remark that'll throw a search-light
on something I'd been groping for in the
dark. I never realized before how exciting
it was just to talk."
Those closest to them are convinced that
they'll never marry, that their feeling for
each other will, by its nature, mellow into
a staunch and lasting friendship. Once
you've had a taste of her quality, you can
understand how winning Janet Gaynor as
a friend would enrich any life.
HE WANTS TO DISAPPEAR
(Conthmed from page 46)
a private plane and flies, he and the pilot,
by themselves. Slim flies sometimes for a
couple of days. He likes, also, to go on a
bust, a bender. When he is feeling a little
tightish, his laziness vanishes, gives way
to prodigious energy. He usually goes to
San Francisco. He tears up the town and
has a terrific time. His best pal in San
Francisco is Frank Martinelli of the Bal
Tabarin. They do up the town from Nob
Hill to Chinatown and back again.
SLIM LIKES to go into his kitchen and
mess about with a meal, which, he says,
no one can eat. He is the biggest softie in
the world. A hand held out to Slim is a
hand filled, without question. He is espe-
cially a "softie" when it comes to ragged
little newsboys. There is one thing in the
world which could rouse Slim from his
loafing — and that is the thought of a kid
in need. That appeal has never failed.
He is of the school of Isaak Walton, of
Thoreau, men who counted the world well
lost ipr the woods and streams, men who
watched the sunsets and felt no need of
theatres nor of society. He is of the ilk of
Will Rogers, is Slim, kin to all plain and
homely men with homespun hearts. He
has one passion in life — his young adopted
son. He has one ambition in life — to loaf.
He has one plan and aim in life — to dis-
appear, utterly and completely.
Slim Summerville was born in Albu-
querque, New Mexico, on a tenth of July
over forty years ago. His mother died
when he was five. His father took him to
live with an aunt in Chatham, Ontario,
Canada. But Slim was constantly "dis-
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sent to live with another aunt in Okla-
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that he first wanted, consciously, to "dis-
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ran away from books, and from learning
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100
MODERN SCREEN
For six years Slim knocked about the
United States, Canada, and Mexico. He
worked in coffin factories, and thought "it
wouldn't be bad to be dead." He worked
in brick yards, lumber mills, machine shops.
Occasionally he played small parts in ama-
teur shows. He kind of liked that. It was
one way of disappearing, for when he put
on a costume and grease-paint, he wasn't
George Somerville at all. He was some-
one else. His own identity "disappeared."
He worked in the fields, and forests, in
shops and cities. He learned that the less
you say the better off you are, the less you
do the more time you have for loafing
and inviting your spirit. ,
In Tootencarry, New Mexico, in the
course of his wanderings. Slim "found"
his father. Slim landed there after riding
the rods for long, wild nights. He was
hungry and he wanted a meal. He had "two
bits" and a railroad pass belonging to his
father, whose face he didn't remember,
whose whereabouts he didn't know.
The tall station master looked long at
the bit of pasteboard which was a railroad
pass. He looked long at the tall, hungry,
dusty young man who was carrying it. He
said to the lad, "How much have you got
on you?" "Two bits," the boy replied.
The station inaster, without blinking, took
the two bits from the boy, told him to go
and eat his fill at the adjacent lunch wagon.
When the boy returned to the yard he
found awaiting him not only the two bits
but — a father. They have seldom been
separated since.
SLIM, "on the bum," rode the rods into
Los Angeles. He planned to visit an
uncle there, get a job, send for his Dad. He
didn't find the uncle. He "postponed" his
meals for three days. Finally, in despera-
tion, he took a job as a poolroom porter,
washing out the cuspidors, racking up the
balls. And in the course of time he be-
came acquainted with a jovial chap, though
dour of face, named Edgar Kennedy.
Edgar was a small-time comedian at
a movie studio, and through his good
offices Slim secured work at the, to him,
princely sum of three dollars and fifty cents
a day. He became a fixture on the studio
police force. He was so tall, so thin, so
gloomy. And, best of all, he could "take
a pie." Why not, when the gravel of most
of the road-beds in the country had zinged
him in the face?
He became the first "guaranteed" extra in
the business. For, when other studios
sought him, his own offered him the
astounding guarantee of four working days
a week for twelve dollars flat rate. Slim
took the guarantee. He was featured in a
series of comedies. He became one of his
studio's ace directors.
Then over went Slim Summerville to
another lot and for several years directed
Clyde Cook and "Unreal Newsreels." He
moved over to a third studio and directed
a series of shorts featuring Arthur Lake.
He guesses that the grease-paint must have
seeped into his blood, perhaps on account
of how he was always too lazy to wash it
off at nights. Anyway, he decided to
return to acting.
Slim's first real recognition came when
he played in "Troopers Three," and he
got his big break as Tjaden in "All Quiet
on the Western Front." Since then he
has done the same role in "The Road
Back," Tjaden being the only char-
acter who lives on in the sequel. For a
time he was co-starred with Zasu Pitts,
but he doesn't believe in "teams." He
played with Will Rogers in "Life Begins
at Forty," and was promptly signed to a
long-term contract. His favorite role was
in "The Farmer Takes a Wife."
He likes his work. It's easier than any
way he knows of making the same rather
more-than-substantial living. It's because
his wide-open heart automatically opens his
hands and wallet that he isn't a very
wealthy man. He never will be. He's just
not the type.
Summerville guesses that his work has
improved. There's some characterization
to it now. He doesn't have to "take pies"
any longer. He isn't just a comic. The
character he plays on the screen is a four-
dimensional, definite identity. He spends
most of his off-the-set time in the studio
playing with Shirley Temple, wrestling
with Jane Withers.
He could write, as perhaps no one else
could, the saga of a quarter century of
Hollywood, memories of the days when
Gloria Swanson, Charlie Chaplin, Wally
Beery, Zasu Pitts, Marie Prevost and
others were "taking pies" at Sennetts. He
never will write it because, he says, "I
never paid much attention to 'em." He
changed his name from Somerville to Sum-
merville. He doesn't know just why.
"Perhaps because it was one way of dis-
appearing a little,", he says.
He told me the other day, "I have only
one aching desire in my life — to have my
boy with me every hour of every day. I
couldn't love that little feller more if he
were my own flesh and blood. He's grown
right into me. Why, he even looks like
me. I plan to adopt another baby, maybe
two more, another boy, and a baby girl.
That's all I want to do."
Most people don't know that Slim adopted
small Elliott before the child was born.
He knew the case, and circumstances.
When Elliott was four days old, Slim took
him to the hospital, had him placed in an
incubator. He was premature, delicate. His
chances were slim. Every care that money
could buy, that love could suggest, Slim
gave to that baby. At home he had a
model nursery installed. He had nurses
and doctors. He sent him to nursery
school. Elliott is indeed the child of Slim's
spirit, the inheritor of his heart.
"I have only one ambition in life," Slim
was saying, "and that's to loaf. And what
I mean by loafing is to do exactly what I
feel like doing. I don't sit and think — I
just sit. Or I fish or wade around out
there in the ocean. I want to take my wife,
'Brownie,' and my boy, Elliott, and just
live and loaf and be unknown. That's all
I ask of life."
Take it from Johnny Davis, this
movie business is serious! His
next is "Garden of the Moon."
MODERN SCREEN
SHE'S A SOFTIE
(Continued from page 47)
warmth, good nature. Letting police dog
lie wherever it may be, you subtly assume
Miss Oliver's bark is worse than her bite.
"Indeed it is!" she laughs. "I'm not
actually the hard-boiled old woman I'm
supposed to be. I'm really a nice lady,"
this with a gay grimace to let you know
she isn't taking herself seriously. "The
rest is Hollywood, which probably will
never give me any rest from the type of
part I'm forever doing. Still, there's a bit
of variety from time to time. In 'Parnell,'
for example, I played a wealthy old aunt
with great understanding of life — regal,
Victorian, witty — and to a dull person like
myself it was gratifying to be witty !"
Another merry peal rings with her sense
of humor. To your great delight, you find
that she is really good fun.
"For the life of me," she declares, "I've
never been able to understand why Holly-
wood gave me parts designed to frighten
little children. I was a little girl myself
once, if you can believe it. Not a very nice
little girl, I'm afraid, for I loved to dress
up outrageously and give most shocking
imitations of people who came to the house.
As a child I was crazy to act, the only one
in our family with this obsession, so today I
have no one to blame but myself. To add
to the mystery, all my forbears were
straight laced New Englanders."
NOW you understand that brass knocker.
Your understanding grows when Miss
Oliver mentions her birthplace, Boston,
with an accent pure and unmistakable.
"A violent change took place when I
went on the New York stage," she relates.
"Advised there might be a part for me in a
musical comedy, of all things, I went to the
theatre where it was in rehearsal, galoshes,
umbrella and all. My dismal appearance
among those gay people was, apparently, so
affrighting that it stopped the rehearsal.
Everybody simply stood and stared. But I
got the part. It was in 'Oh, Boy !' No, I
didn't sing, but I did a dance — yes, really.
I played a Quaker aunt. She had never
felt her oats, poor thing, but someone put
something in her cambric tea and the old
lady got quite ginny."
When, drunk with unholy mirth, you re-
mark that even the most rigid may find it
agreeable to relax on occasion. Miss Oliver,
with a twinkle in her eye, agrees.
"True. But, believe me, it is quite im-
possible to relax in forty weeks of one-night
stands. That was part of my three-years'
experience in 'Oh, Boy!' And when I
was making one picture, 'Parnell,' I had
to stand up hours on end. My dress
weighed no less than fifty pounds, and I
wore steel corsets that made me feel like
a by-product of the United States Steel
Corporation. I couldn't sit down in the
darn things without cramping my style,
not to mention other trifles, so I did a lot
of heavy standing around. About eleven
every morning I was ready to fold up.
But, instead, I just bucked up."
This woman of steel sighs and lights a
cigarette before you can beat her to a
match. Then, "I tire very easily. I'm up
at six o'clock, then work at the studio
till six, but I always quit on the dot. The
producer caught me at it one evening when
we' were making a picture and exclaimed,
'Great Scott, do you belong to a union?
The minute it's six you drop your tools !'
He was right. With me it's just a hard
grind. I'm really not too strong."
For the first time you notice that this
vital actress of vigorous roles is, physically,
a curious contradiction. She is actually
frail, utterly unlike the screen characteri-
zations she embodies so robustly.
"I have an idea," she reflects, "that audi-
ences always think I'm like the woman I
happen to be playing. I don't like to have
them think that. I'd really love to be
bright and gay in pictures. I made this
happy suggestion to studio powers one time,
but they couldn't see it at all, even though
I assured them that most of my parts on
the stage had been very humorous. They
reminded me that in Hollywood I was
established in a wholly diiierent line of
parts. So they always hand me an old
hyena role, and I have to keep on barking
my head off."
TOO bad, now that you're ready to
swear on a stack of dog biscuits that
there isn't a bite in a carload of her barks.
"Of course," she admits, "this isn't all
as bad as it sounds. The parts I play are
hard, but at the same time they have a
certain softness. At least I try to find this
in them. I liked Aunt Betsey Trotwood
for the little warmth in her, and my one
hope and aim was to bring it out. To me
she was like so many people who, for some
reason, seem set on hiding their better
nature. Perhaps this is due to a shrinking
from any outward display of their inner
qualities. Most people, I imagine, are
hopelessly shy."
You suspect Miss Oliver to be speaking,
not of others, but really of herself, making
a sort of confession.
"I paid my money four times to see
'Romeo and Juliet,' " she says. "That
may sound conceited, as though I went to
see myself. But I didn't. For one thing, I
went again and again just to hear the music
of that fine score. But that wasn't all. Each
time I found something new in the picture,
a new beauty and meaning. Finding myself
in it was, somehow, always a surprise. If,
when I was on the stage, anyone had told
me I should one day be in Shakespeare I'd
have thrown up my hands in amazement.
"But that is Hollywood. After eight
years here it still continues to astonish me.
It is always doing strange things. Quite
the strangest now is its plan of pairing
romantic couples in real life as screen
lovers. This was never done in the stage
world. It never occurred to a theatrical
producer that there might be 'box-office' in
such a combination. Not that I feel any
immediate likelihood of its affecting me.
Thus far, at any rate, Hollywood has
shown no wild desire to cast me opposite
Clark Gable or Robert Taylor in throbbing,
heart stirring romance."
An oversight, no doubt. Yet you feel
certain Hollywood has by no means failed
to grant Miss Oliver rewards of a much
more lasting nature.
"Most of all," she gratefully replies,
"Hollywood has given me this house, the
only home I have known since leaving the
one I knew as a girl. By playing hard old
women I've managed to make it rather
soft for myself. There is nothing I appre-
ciate so much as having a roof over my
head. Here I am content. I never go
anywhere, except to symphony concerts."
That Miss Oliver goes far in her love of
music is obvious, for living at least twenty-
five miles from I.os Angeles she evidently
is more than willing to travel twice this
distance to get what she wants — and needs.
Evidence of this is ofl'crcd by her fine
piano. Equally fine, you sense, is the artist
in the woman, making lier solid and sub-
stantial in lier values, not mere foam on
that ferment called Hollywood.
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102
"Would you care to see my house?" she
inquires expectantly.
It is the biggest little house you have
ever seen. You go admiringly from room
to room, one walled with books and all
sunny, cheerful, homelike, then out into
a garden bright with flowers. There are
many charming things — but neither hide
nor hair of that other thing. This is the
only mystery about the frankly domestic
lady of the house on the hill. And you
know, even before she tells you at that
brass-knockered door, "I'm just an old-
fashioned home-body."
Never mind about anything else. Shut-
ting the white gates, you smile indulgently
at their fearsome warning, "Beware Police
Dog!" Nonsense. Edna May Oliver can't
scare you any more ! You'll wager now
that she doesn't even have a police dog 1
HIGHLIGHTING HERSHOLT
{Continued from page 50)
has switched clothes and will get into
the other's place and look up to see if
the new girl can tell the difference."
Lighting his pipe, Jean Hersholt set-
tled back comfortably, to continue a sub-
ject near his heart. "Those babies are
as strong and sturdy as any healthy four-
year-old children. The public will see an
entirely different set of Quints this time.
Heretofore they haven't had benefit
of lighting to really be photographed
properly. Now that they are a little older
they'll have the opportunity to profit from
better camera effects. Of course, you knew
their pictures have never been retouched ?
Well, when we see an unretouched photo
of ourselves we wonder if it can be real,
it's so bad. From now on, you'll see some
vast im.provement in each of those five
little girls when you see them in the movies.
"This new picture is called 'Five of a
Kind' and, if you know your poker, that's
tops. I play the country doctor again, but
the girls will have much more to do this
time. There's a very cute song called 'All
Mixed Up,' which will be adorable for
them. I'm very happy about making an-
other picture with them and I'm looking
forward to the three weeks I will spend
up there with my five leading ladies !"
Since there's been so much publicity
about the return of the Quints to their
parents, we were anxious to hear the latest
bulletin first hand.
"I think the babies will eventually go
to the Dionnes. However, I think the first
thing will be to build a new nursery for
them, as the one they have at present is
far too small. Of course there's been some
bad feeling, but I feel sure they will build
a big place, and have one side for the
family with the other side fixed up for the
babies. Mr. Dionne, who is one of their
guardians with Dr. Dafoe, now goes to
meetings and takes more of an interest in
things than before, so it looks much more
encouraging.
"Dr. Dafoe has certainly handled every-
thing in a dignified manner and deserves
lots of credit. He has difficulties to combat,
but you'd never know it. He's a fine man.
And, too, I'm sure if my children were
wards of the Crown, I'd be pretty well
satisfied, especially when I saw how well
they were treated."
AFTER a quarter of a century in pic-
tures, Jean Hersholt has been one of
the few actor's to run the gamut of char-
acters. There's no type part he hasn't
enacted at one time or another in his color-
ful career. The interesting thing is the
transition he has made from bad men to
the kindly, sympathetic parts he is now
portraying so well.
"I don't think I really know just how I
came to graduate from villains to the thing
I do now. The transition was so gradual
that the fans accepted me. You know, I
played the title role in 'The Beast of the
City' and I was the Beast for true. After
that, I began to get sympathetic roles until,
finally, I graduated to Sonja Henie's pic-
ture Papa and playing with the Dionne
Quints. You know, in October I begin
another picture as Sonja's Papa. It's my
next after 'Five of a Kind.' Sonja's a
fine girl, with a real head for business, too,
and just as sweet as she can be.
"I've just finished 'I'll Give a Million,'
where I play a clown. My partner in that
was a Chimpanzee ! I assure you it was
no fun working with him either. They
say after five years chimpanzees get nasty
and this fella was seven, with a head start
on all others. When I turned my back,
he'd pinch me so hard that I'd bleed, but
all in good clean fun, of course ! Then
there were the boxing sequences and he
hit so hard my chest was black and blue
for days. After this picture it would be a
pleasure to do a good juicy villain, just
for a change y'know !"
AN actor's life at best seems speculative.
■ In fact, often a seemingly good break
in the way of a part will spell finis to his
chance for the future. While, on the other
hand, an apparently bad bit of casting
may mean a new lease on movie life. How-
ever, even though Jean Hersholt is the
exception that proves the rule, he has
camera comrades who suffer from the ill
fate of the aforementioned.
"It seems a pity that when someone does
a good job of acting it should react against
him," the country doctor explained. "You
remember John Qualen, who has played the
Quints' father in their films? Well, he's
a fine actor, but, since these pictures, he
can't appear in anything serious, because
the fans won't believe him. Recently he
had a dramatic role and the minute he
raised his head, the audience began to
laugh. When he landed the first assign-
ment he felt it was a grand chance for
him, never realizing the public would al-
ways associate him with 'Papa Dionne.'
■ Unfortunately, he's typed now and it's
pretty tough to break away from that sort
of thing once you've gotten into it.
"When I used to do heavies exclusively,
I never thought I could get away from
them, but I sat right down and figured it
all out. Most of my characters were be-
whiskered men of one sort or another. So,
for each one, I used an entirely new set
of whiskers and makeup, so the fans
wouldn't get too bored with me. I think
that's one reason I was able to make the
transition comparatively unnoticed. Of
course, it was this stunt, coupled with my
first real break, playing with Marie Dresser
in 'Emma'. From that time on I became a
sympathetic human being."
This will give you a rough idea of
what Jean Hersholt has accomplished
through twenty-five years service in the
picture world. During Mr. H.'s time he's
seen many changes, many stars come and
go, but nothing seems to give him nearly
the genuine thrill of his latest find, the
prospect of publishing these newly un-
earthed Hans Christian Andersen fairy
tales. Hasn't it some slight connection with
his great affection for the Dionne Quints?
MODERN SCREEN
PUT YOUR BEST FACE FORWARD
{Continued from page 45)
they need darkening. You can raise your
eyebrows almost a quarter of an inch by
this trick, and train them to stay in posi-
tion, too. Conversely, if your eyebrows
are too far away from your eyes, giving
you a constant surprised look, you can
train them down. A little judicious pluck-
ing, on the under or upper side, as is neces-
sary, will help.
Personally, I think mascara is a swell
thing and I feel undressed if I'm not sport-
ing a touch of it, but there are girls who
declare they can't get the hang of using it.
Maybe you're one, and your eyes are just
crying, figuratively not literally, for it.
Putting it on is a knack and one which re-
quires a little practice, but once you get the
knack, you'll be able to whisk a little
glamor onto those eyes of yours with as
much ease as you powder your nose. Have
the brush damp, not wet. I like to run hot
water over the mascara cake itself rather
frequently — it keeps it moist and nice and
easy to use. Maybe this ain't delicate, but
old hands at the art of applying mascara
claim that saliva is a much more satis-
factory lubricant than water. Yeah, I said
'twarn't delicate, but nine out of ten models,
stars and glamor girls do it.
THE kind of lashes which are easiest to'
make" up are those which — like my own
— are sort of thin, fine, stringy and nonde-
script. The kind which are very difficult to
make up are the thick, short, bristly lashes
— the kind which are dark enough to hold
their own, but which are too short and
stubby to be beautiful. Here I advise the
application of oil or cream first. Perhaps
a dab of powder on top of the cream — an
old movie star trick — will make the mas-
cara cling better. If the average good
commercial makes of mascara which you
can buy anywhere do not seem to work for
those of you whose lashes are thick, but
short and unglamorous, see if you can get
your paddies on a cake of theatrical mas-
cara. It comes in a block, and has won-
derful staying powers. Or use a cream
mascara — harder to get used to, but very
elegant looking once you get the trick.
Do you have rouge-trouble? Does rouge
seem to do nothing whatever to put umph
into your face? Then don't do what we all
are apt to do. That is, go doggedly on,
placing the same kind of rouge in the same
spot every day, hoping against hope that if
you're extra neat and careful in applying
it, some miracle will take place to make
you beautiful. Try something else. Use no
rouge at all, perhaps. Yes, I know — after
wearing bloom-out-of-a-box for years, you
feel a bit undressed at first.
Five-six years ago, when the electric
Miss Lombard was a-busting into pictures,
she was buxom, over-bedecked and over-
rouged. She slimmed down to streamline
proportions. As a matter of fact, she's a
smitch too thin right now, if you ask me.
But anyway, the slimming process brought
out the truly beautiful modelling of her
face, and when a face is nicely modelled,
'tis a sin to put rouge on it — except (ah!
always an exception) at night, maybe,
when you may put a touch of rouge, not
on the curve of your cheeks, but in the
hollows of the same.
This must be done with care and clever-
ness and you must practice a little to get
the right effect, and you must have that
Who's this? A mermaid on
our shores? No, it's our own
Ann Rutherford.
Little Susan Hayward is an-
other reason why you and you
adore the movies.
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104
hollowed-in look just below the cheek-
bones, a la Dietrich and Lombard, to do it
at all. Lessee if I can think of some other
movie star examples — stars who could and
stars who could not employ this trick. Well,
of the belles who adorn the beginning of
this article, Garbo could, Ginger could not.
Loretta couldn't. Gladys Swarthout could.
See what I mean?
If you're using cream rouge and have
trouble, switch to cake rouge or liquid
rouge. And vice versa. And there's a new
cosmetic aid out, which isn't a rouge at
all. It imparts a very natural-looking glow
to the face. And in some of the hoity-toity
beauty parlors, they use a trick for thin
faces. It's a little difficult to do, but it
looks grand if you can work it.
Rouge — oh, but very little — is put on por-
tions of the friendly old face you never
heard of before. Not on the curve of the
cheeks at all, but in the hollows of the
temples, blended very carefully, and on
the eyelids, and at the outer comer of the
eyes and on the point of the chin. So little
is used that it's almost like using a pink
powder on these parts of the face, and then
one is powdered carefully all over the
pan with the regular shade of powder. The
pink glow in the hollows of the temples
and so on adds roundness to a thin face.
Akin to this trick is the stunt of using
two shades of powder, the darker shade
to highlight your face as rouge will. This
isn't difficult to do and you might try it if
you're tired of the way you look.
To wind up the cosmetic department, let
me mention again the wonderful help to
beauteh that these new lipstick pencils are.
If you're one of these girls — like myself —
who get their mouths painted on a different
shape every time, dash right out and buy a
lipstick pencil in your pet shade. You can
outline your mouth just grand with one
of these, and fill in with the regular lip-
stick. And the pencil is awfully handy for
repairing the lipstick quickly, too. Use
taste and judgment with it, as with all
things. Don't draw your mouth on so hard
and definite that it don' look purty. Blot
the paint job with tissue for the most
natcherl effect.
Before I forget, I want to pass along
two beauty tricks from our songbird,
Gladys Swarthout, which struck me as be-
ing awfully good. After cleansing her face,
Gladys puts on a nourishing cream and
polishes her skin with small squares of
turkish toweling — old turkish toweling,
which is soft and non-irritating. And —
put this down in your book and remember
it — Gladys Swarthout brushes her hair five
hundred strokes a day. I am not telling
you a story, my pets.
You see. Miss S. figured it out this way :
her hair is not a glamorous color. It's
neither golden, nor flaming red nor jet
black. It's a plain, nice, hair-colored brown,
just like the hair on millions of you girls'
heads. But, thought Gladys, is there any
reason why plain brown hair shouldn't be
pretty ? Of course not. So instead of
monkeying around with dyes and things,
trying to make her hair something it wasn't,
she took the common-sense route to beauti-
ful hair and made it shine and gleam with
a good old fashioned brushing.
r>RONZE and golden lights will come out
J-* in dark brown and light brown hair if
you will shampoo and brush it. Coarse
hair will be crisp and manageable, but look
soft and never get that rusty, bristly look
if you brush it. Fine hair, instead of
sitting dankly down on the scalp, and look-
ing thin and miserable, will have fluff and
life to it. If there's the slightest tendency
to natural wave or curl in your hair, brush-
ing will bring it out. If your hair is just
naturally as straight as a poker, it will
hold a wave much longer after brushing.
By the way — joost in passing — if you're
going in for one of the newer up-on-the-
head coiffures, here's a cute trick. Have
some little Victorian nape-of-the-neck curls
permanented. For an occasional ° evening
affair, let them show there at the back of
the neck — very feminine and quaint. Other
times, comb them up into the rest of the
hair. The permanent will give them body
and they'll stay put, doing away with that
untidy wispy look.
When it comes to your figure here is a
surprising but sterling hint from no less
an authority than Orry-Kelly, head designer
for one of the studios. It sounds odd,
but it makes sense — you see if it doesn't.
He says you should conceal, to some extent,
your best figure points, in order to mini-
mize figure faults. Let me explain.
Figures are all mixed up, as a rule. The
figure that's beautiful all over is the ex-
ception. The figure that's terrible all over
is the exception. A chunky, stocky body
Pretty little
Anne Shirley
went right on
eating and
John Howard
Payne went
right on lift-
ing that right
eyebrow
while the
candid cam-
eraman did
his little
chore.
MODERN SCREEN
NOW! LAUNDRY
STARCH IN EXACT-
MEASURE CUBES
Moon-silvered dusk. Throbbing
beat of music and the click of
the roulette wheel. Scent and
sound and laughter — but only
grim terror to the girl who hid,
crouched low, behind the terrace
wall — safe for a moment from
the desire in Ettienn's black eyes
and the sting of his cruel whip.
Recklessly she vowed to destroy
herself rather than submit to his
cruelties. But something held her
back. Could it be the strange
warmth that filled her heart as
she thought of the grey-eyed
stranger — of his strong bronzed
face and the thrill of his arms
about her as they danced to-
gether at the Casino?
For one ecstatic moment she had
been happy — now hopes and
dreams crashed about her — her
world seemed to be spinning like
the Casino's roulette wheel. And
where would it stop? Would
she win or lose?
Read this thrilling story of the
love and adventures of a French
carnival dancer. It appears in
the SEPTEMBER SWEETHEART
STORIES. Don't miss it!
stories
On Sale Everywhere
Stories
lOc
often winds up in a pair of legs as slim
and exquisite as Ginger Rogers' own. A
tiny waistline suddenly zooms out into
too much hip. The girl with the pretty,
trim figure feels that her life is ruined
because she has fat legs. And so on.
Now, says Monsieur Orry-Kelly, one
should 710 1 play up and dramatize a pretty
pair of legs, a tiny waist, a Venus-like bust
development, unless the rest of us matches
up. . The plump girl with the slim legs
should wear her dresses long enough to
slim her body, even if it breaks her heart
not to show her legs. The tiny waist with
the large hips should be more or less
loosely fitted until the hips are slimmed
down. Understand ?
More about making the best of figures.
Out Hollywood way, all the girls have
pretty darn good looking figures, some
really beautiful, all pretty good. Further-
more, the stars are, generally^ speaking,
little women. A size sixteen is the ex-
ception out there. When we use the stars
as models of figure beauty, we're inclined to
forget this. The average American girl is
taller, huskier, heavier boned than the
average star. What I'm getting at is a
little preachment for the "big" girl, the
girl who wears an eighteen or a twenty,
even, and who tries to copy too much the
dress and get-up of her favorite star.
WHY, nowadays, eighteens and twenties
are spoken of in sort of a hushed
tone as if it weren't quite nice to be tall.
Phooey. If you are slim and in propor-
tion, if the tum is flat and the hips minus
bulges, you have just as much claim to
beauty as the little wisps of girls. In fact,
an artist would say you have more claim
to beauty. But don't commit the mistakes
so many tall, big girls commit. Wear your
proper size. I know — the cheaper dresses
put all their prettiest styles into the smaller
sizes. When you hunt for an eighteen or
a twenty, you run into dreary old Mother
Hubbard affairs you wouldn't be caught
dead in. So you do one of two things —
squeeze into a sixteen, which is wrong, or
unhappily buy something that will "do" and
hate it every time you wear it.
Yuh gotta pay more for things if you're
tall and big, sister, and you might just as
well make up your mind to it. Go to the
better shops. Better dresses run larger,
have generous seams and good hems. In-
stead of running one dress style through
the whole range of feminine sizes and
shapes, there are special, suitable styles for
you and special, suitable styles for your
eentsy-teentsy girl friend.
If you have hat-trouble, you must pay
more for hats. There are the fortunate
people who can put on nine hats out of
ten and look well. They can pick up bar-
gains. They can jam the little dollar-ninety-
five caps on their heads and look cute.
But if the nine out of ten hats make
you look rather nutty, find yourself the
clever milliner, or go to the hat shop whose
prices are a little bit frightening, or stick
rigidly to those plain, moderately priced
well made sport types, made by several
nationally known manufacturers, and no
matter how your soul aches for something
a little bit mad in the hat line, do not be
tempted.
Well, now, in closing, I wanna tell you
that I'm on the trail of some specially posed
pictures for an early article, showing you
some very special and clever tricks which
are whipped up in the Hollywood studios.
If some kind lady will step up and pose
for us while one of the studio make-up ex-
perts dolls up her face, I do believe we will
have something there. I want to show you
exactly how an average-looking gal,
properly made up, becomes a beauty, and
how clever brush work can conceal facial
faults in a truly magical manner. Be
watching for it !
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MEASURE
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•
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Finest gloss starch is now
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Women say smoother iron-
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Ask your grocer today for
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STALEY'S
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105
Anne Shirley (the smile) and Vicki Lester
(the squint) do a little light imbibing in
good old Roman style.
BEACH BELLES
Oop! Over she goes! There's nothing
like a rollicking game of leap frog when
peppy gals get together.
"But don't go near the water!" Meanie
Anne leads on despite Vicki's anguish.
Anne'll have her wading yet!
Anne Shirley and Vicki Lester "hang their
clothes on a hickory limb"— etcetera
Couldn't take it? Indeed, yes! Just time
out for a little serious copper-tinting while
the sun is high.
GIRL
Here It Is, and for the first time, the com-
plete story of "Boy Meets Girl," the hilari-
ous comedy that caused Broadway to slap
its thighs and quake with mirth.
Two eccentric writers. Two bewildered
young lovers. And one unborn baby.
Juggle them together, set them down in a
Hollywood studio, and prepare for any-
thing! You'll find you're getting more than
you had hoped for when you follow situa-
tion after situation in the lives of four
goofy individuals and one dimpled mite who
gurgled his way into the heart of America.
Don't miss the complete story of "Boy
Meets Girl" — adapted from the Warner
Bros, picture starring James Cagney and
Pat O'Brien, it is but one of the 16 stories
appearing in the September SCREEN RO-
MANCES. In this same issue you'll find the
complete stories of
TOO HOT TO HANDLE
Clark Gable and Myrna Loy
a complete book-length novel
SPAWN OF THE NORTH
George Raft, Henry Fonda, Dorothy Lamour
MY BILL
Kay Francis and Anita Louise
Each month SCREEN ROMANCES brings you
16 exciting stories of the latest pictures,
all illustrated with actual "stills" from the
movie productions. Once you've read an
issue, you'll never miss another. Why not
insure for yourself six months of perfect
magazine enjoyment by taking advantage
of our SPECIAL INTRODUCTORY OFFER
... a six months' subscription for only
$1.00! It would ordinarily cost you $1.50!
Simply mail your check or money order to
Screen Romances Magazine and the next
six issues will be delivered at your door.
SCREEN ROMANCES MAGAZINE
149 Madison Avenue, New York City
Please enter my subscription for the next six issues of Screen Ronnonces,
effective with the issue. My check (or money order) for
$1.00 is enclosed herewith.
iName . .
Address
.City.
She's decidediy a modern ... this young matron . . . Foregoes
many social events for the greater thrill of big-game fishing
"Chisie, what makes you say: 'Camels are different' ?"
Comfortably lounging in the cabana, Dorothy Lovett and
Chisie Farr.ngton (right, above) are deep in a talk about
the diflference in cigarettes. "I'm really quite interested
in that difference you're always bringing up — the diff'er-
ence between Camels and other cigarettes," says Miss
Lovett. "What is it?"
"Oh, you must have noticed!" replies Mrs. Farrington.
"Why, for one thing, l ean smoke Camels steadily— and
they never upset my nerves. They never tire my taste
either. And they're always gentle to my throat . . . good
to my digestion. Oh, there are so many ways in which
Camels agree with me . . .
"That's it,'' she repeats. "Camels af^ree with me!"
Among the many distinguished women who
find Camels delightfully different:
Mra.T^icholaaBiddle, Philadelphia • Mrs. Alexander Black, Los ^ngcies
Mrs. Powell Cabot, Boston . Mrs. Thomas M. Carnegie, Jr., New York
Mrs. J. Gardner Coolidge 2nd, Boston • Mrs. Anthony J. Drexel 3rd,
Philadelphia • Miss Jane Alva Johnson, Si. Louis • Mrs. Jasper Morgan,
JVeio York . Mrs. Nicholas G. Penniman III, Baltimore . Miss Alicia
Rhelt, Charleston, S C. • Miss LeBrun Rhinelander,iVctDyort • Mrs. John
W.Rockefeller, Jr., iVcu; York . Mrs. Rufus Paine Spalding III, Pasadena
Mrs. Louis Swift, Jr., Chicago
CAMELS ARE A MATCHLESS ULEND OF FINER, MORE
EXPENSIVE TOBACCOS . . . TURKISH AND DOMESTIC
ONE SMOKER
TELLS ANOTHER
M
RS. FARRINGTON is a
lovable, easy-to-know
person. Even mere acquaint-
ances think of her fondly as
"Chisie". Beloiv, "dinner at
home" — smoking a Camel. She
is an alumna of the Spence
School and Miss Porters . . .
travels consi( i erably. . . tak es part
in sports the year 'round. A
steady Camel smoker, she has
this to say: "Almost all of iny
friends smoke Camels too. If
they're not smoking mine, I'm
smoking theirs. A grand cigarette
— Camels! So good and mild!"
Ti/IRS. F
iVl fishec
FARRINGTON has
ed for big game from
Nova Scotia to the Bahamas —
caught tarpon, sailfish, big blue
marlin, tuna. Above, photograph
taken after her biggest catch was
weighed in. A giant tuna — 720
pounds, 9 feet, 10 inches long!
And she's a mere 102 pounds!
"That tuna tried hard to pull
me overboard," she says. "Tense
moments like that make me real-
ize how much I depend upon
healthy nerves — and how glad I
am that I smoke Camels! Camels
never jangle my nerves, and I
smoke them steadily. And when
I'm tired, smoking Camels gives
my energy such a 'lift'!"
PEOPLE DO APPRECIATE THE
COSTLIER TOBACCOS
IN CAMELS
THEY ARE THE
LARGEST- SELLING
CIGARETTE IN AMERICA
ICTOBER
0
CENTS
CIRCULATION
OF ANY SCREEN
MAGAZINE
ERROL
FLYNN
Oft a
Remember:
Karo is rich in Dextrose the food energy sugar
SCHOOL DAYS
Even movie stors must study the three R's!
Judy Garland's got the copy-
book blues. Who wants to
study French this kind of
weather, she'd like to know?
Even studio school marms
hove twin troubles — but
Billy and Bobby Mauch are
really good students.
What's this, teacher? Has Mickey
Rooney got report card complica-
tions already? Aw, shucks!
Deanna Durbin of the lark-like voice
adores her history. How about a
date or two, Deanna?
AUG 31 1938
MODERN SCREEN
GLAMOURS
DEADLY ENEMY
///e/f/s fo...
QprnpriD
Dry skin with its unattractive texture,
is the bane of most women. Sun, wind,
dry heat, cold weather, numerous factors,
prevent the natural functioning of your
skin, causing it to be dry and weathered
instead of radiantly lovely.
To dry weathered skin, Armand Blend-
ed Cream helps to give an appearance of
glowing, natural beauty and of a rose petal
complexion. Use Armand Blended Cream
and you will notice that your skin soon
seems more fresh looking and firm — clear-
er, more refined. A new type of all purpose
cream u/ith the fragrance of fresh cut roses, the
delicate oils it contains soften harsh, dry
and weathered skin.
At your favorite cosmetic counter you
may choose one of four sizes, $1.00; 50
cents ; 25 cents and 10 cents — each size
has the effect of five facial aids in one jar.
Or, send coupon below, for a generous
trial size.
fi Rmo n D
Created by Armand to Glorify Your Loveliness
ARMAND, Des Moines, Iowa
' (In Canada, address Windsor, Ontario.)
Now 1 know 1 simply must try Armand
Blended Cream and the famous
Armand Bouquet Powder. My ten
cents is enclosed.
Name
Address_
City
. Statc_
MS— 1038_ J
•©CIB 389292
MODERN \che£/yi
Copyright, 1938, by Dell Publishing Co., Inc.
Regina Cannon Editor
Leo Townsend Hollywood Editor
Abril Lomarque Art Editor
SHE SHOULD WORRY!
WHITE ELEPHANTS
WHAT'S THE MATTER WITH HEPBURN?
STRICTLY OFF THE RECORD
MYRNA'S MAID TELLS ON MISS LOY
THE WOES OF A HOLLYWOOD
BACHELOR
SHE WANTS TO STAY MARRIED
SCARED OF HIS SHADOW
HOW THEY WIN FRIENDS
HE WHO GOT SLAPPED
KEEPING UP WITH THE JONESES
SOCIAL SECURITY
HE'S GOOFY AND HE LIKES IT
SHE COULDN'T SAY "NO"
COOL WEATHER BEAUTY FORECAST
LITTLE LORD FAUNTLE.ROY
6 JEAN SOMERS
10 JULIA SHAWELL
26 BEN MADDOX
28 MARY PARKES
30 IDA ZEITLIN
32 JAMES REID
34 KAY CAMPBELL
36 NANETTE KUTNER
38 DORA ALBERT
40 GLADYS HALL
42 CAROLINE S. HOYT
44 MARIAN SQUIRE
46 FAITH SERVICE
47 MALCOLM OEHINGER
48 MARY MARSHALL
50 HARRY LANG
SHORT
MOVIE REVIEWS 12
BOX LUNCHES ARE FUN 14
PORTRAIT GALLERY 19
OFF THEIR GUARD 51
GOOD NEWS 64
TOWN AND COUNTRY KNITS 70
OUR PUZZLE PAGE 74
INFORMATION DESK 76
BETWEEN YOU 'N' ME 100
MOVIE SCOREBOARD 112
WHAT TO SEE
SHIRLEY TEMPLE'S FAVORITES
FOR YOUR ALBUM
CANDID SHOTS
LATEST MOVIE GOSSIP
FREE INSTRUCTIONS
MOVIE X-WORD
BAROMETER AND QUESTIONS
ANSWERED
PRIZE LETTERS
PICTURE RATINGS
Modern Screen No. 301773. Published monthly by Dell Publishing Company, Incorporated Office
Modern screen, i , . r Avenues, Dune en, N. J. Executive and editorial offices,
Ido M ndlon A^ele N Chicago, III. office 360 No. Michigon Avenue. George T. Delacorte,
1 49 Madison Avenue IN ^"p^ p Henry, Vice-President; M. Delacorte, Secretary.
Jr P^«J'd|"''- ^0^^%^;;' -,^^=8 ^trinted in the U. S. A. Price in the United Stales, $1 .00 a year
m a copy C'onadTan subscriptions, $1.00 a year Foreign subscriptions $2.00 o yeor Entered
lUc a =°Py, ' fte, qpDtember 18, 1930, at the Postoffice, Dunellen New Jersey, under act of
MordT 3 879 Additro'^aTsecond' class entries entered at Seattle, Washington. San Francisco
March i, -r ^ Orleans, Louisiana; St. Louis, Missouri. The publishers accept
California; Houston, lex^^^^^^^ Sole foreign Agents: The International News
no '•esPons bMity for the return o^ England. Names of characters used in stories
^n7?n^'umofo'us^ndrmific;!on"a'l' matter o're fictitious. If the name of a living person is used it is
purely a coincidence.
MODERN SCREEN
THE LIFE.THE SINS OF A ROYAL BAD-GIRL!
The world has read and remembered the story of Marie Antoinette...
glamorous Queen of France. Of her virtues .. her intrigue and brilliance
as a queen but ^ '1 . . more than anything else . . we read of her scarlet history
as the playgirl ^ ) of Europe... <^Sj of her flirtations . . her escapades with the
noblemen of her court .. her^^J^^^^ extravagances even while her subjects
starved. * Now the^'' /^|M|^^ g i ves us . . "M A R I E
ANTOINETTE" the
tho' through a keyhole. . not on the pages of history.
. . in the perfumed halls of the palace of Versailles
nights in her garden . . A rendezvous with her lover
through triumphs and glory .. midst the pageantry of that shameless court., we
see the -=^^^ tottering of her^ throne .. the uprising of her people .. her
arrest and imprisonment . . and we ^^^|T^ °" through the
streets of Paris to the guillotine^^ '/fVi^N NEVER ..not since the screen found
WW
voice .. has there been^,yT."''-—LJ4--^ a drama so mighty in emotional
conflict., so sublime in romance .. so brilliant in spectacle .. so magnificent
^n performance .. truly "MARIE ANTOINETTE" reaches
the zenith of extraordinary entertainment thrillj
woman ^j^y ..we see her, as
0 but in her boudoir
. on the moonlit
.P^.-we follow her
NORMA
TYRONE
NEVER HAS THE SCREEN
WITNESSED il GREATER
PERFORMANCE THAN
THAT OF NORMA SHEARER
AS THE "ROTAL BAD-6IRL"
SHEARER ■ POWER
in Metro • Goldwyn • Maver's Finest Motion Picture
The Private Life of
MARIE ANTOINETTE
ROMANTIC TrRONE POWER
AS THE MAN WHO OFFERED
HER THE LOVE SHE
COULD NEVER FIND IN
HER STRANGE MARRIAGE
JOHN BARRYMORE* ROBERT MORLEY
ANITA LOUISE -JOSEPH SCHILDKRAUT
GladYS GEORGE • HenrY STEPHENSON f^^f
Directed by W. S. VAN DYKE II • Produced by HUNT STROMBERG
5
It's hard to believe that the gra-
cious Gail we know was ever a
shy, awkward novice.
"They lost the pattern after they
made him," soys Gail of hand-
some hubby. Bob Cobb.
I WANTED to find out why Gail Patrick had played
Deanna Durbin's mother in "Mad About Music." Mother
roles are popular. You've seen many an actress cuddle
a moppet of four or five or six. But to take on a daughter
of fourteen is another story. It's saying in effect, "I
think I look old enough to have a daughter of fourteen."
And that a glamor girl must never do.
I wanted to find out why this glamor
girl had done it. In the process, I
stumbled onto another and better story.
We were seated at a table in one of the
booths of the famous Brown Derby.
Bob Cobb, the Derby's genial owner,
passed. "Hello, darling," he called.
Gail's dark eyes crinkled into a
lovely smile. "Hello, darling yourself."
There was nothing casual about either
"darling." Married for almost two
years, they're deep in love, and don't
care who knows it.
The smile still lay in her eyes as she
turned to me. "There's one reason why
I'm not afraid of anything. And I
guess maybe he includes all the rest."
It was pleasant to hear, because it came so simply and
spontaneously, as if spilling over from a cup brimful of
happiness. Watching her, I thought, "Lucky guy, to
have a v^^ife so beautiful and so adoring." By the time
we parted, I knew she was just as lucky.
The movies will never come first with Gail Patrick.
If she were perched, the starriest of stars, on the top-
most branch of the Hollywood Christmas tree, and were
told to choose between husband and career, she'd blow
the career a kiss and come sliding down without a second
thought. Pictures are her job. She likes the job, she
SHE
SHOULD
WORRY!
B Y
JEAN SOMERS
wants to make progress in it, but for all that pictures are
not Gail Patrick's whole life.
When she was 'five, she made up her mind to be a
lawyer. Till twenty, it remained her single goal. Then
she entered a college beauty contest. To her genuine
astonishment, she won first prize. It meant a trip to
Hollywood, and a screen test. The test
would be a joke, thought Gail, but the
trip would be fun, something to tell
the girls about back in Birmingham.
You- know what happened. Time
and again she was on the point of de-
parture. "I don't want to be an actress,
I want to be a lawyer," she'd cry re-
belliously. They'd wave a raise in
salary under her nose, and drag her off
the plane. She was bewildered, in-
credulous, torn two ways. She couldn't
turn down all that money. On the
other hand, it couldn't last. "Eveiy
time I got my check, I'd race like mad
to the bank, for fear they'd call my
bluff before I got a chance to cash it,"
Gail told me.
Eventually she took the path chance had blown her
into. But she took it with a difference. She didn't say,
"I've got to act. If I lose out, my Hfe will be dust and
ashes." She said,. "I wasn't born to act. A freak of fate's
put me into this, but I'm just stubborn enough to want to
see what I can do with it. If I lose out, I can still go
back to studying law."
This sense of another harbor gave her perspective,
helped her see through the Hollywood delusion that
movies are the whole of life. What the law began, Bob
Cobb finished. Over a period of {Coiitimted on page 16)
Gail Patrick lets you in on the secret of her newly -found happiness
6
MODERN SCREEN
A TIP ABOUT BATHf NG TO A
GfRL WITH A DATE TONIGHT
After your bath, don't fail to
give underarms Mum's sure care!
WHAT a wonderful lift a bath gives
to a girl who is going out in the
evening. It starts you off so gloriously
fresh and alive.
But even the most perfect bath can't
protect you all evening long. Underarms
must have special care— that's why smart
girls, popular girls, follow every bath with
Mum! They know that a bath only takes
care of past perspiration— but Mum
keeps underarms sweet through the
hours to come— makes odor impossible.
Many a girl who starts out fresh, loses
that freshness before the evening's over.
If you want to avoid worry about under-
arm odor— if you want to be a girl who
gets a second date and a third— lemem-
ber, no bath protects you like a bath plus
Mum. Then you'll never risk offending
others, never risk spoiling your own
good times. Always use Mum.
MUM IS QUICK! Just half a minute is all
you ever need to apply Mum.
MUM IS SAFE 1 Mum is completely harmless
to every fabric. And Mum is gende, actu-
ally soothing to the skin. You can use it
immediately after shaving the underarms.
MUM IS SURE! Mum does not stop perspi-
ration—it simply banishes all odor, ail day
or all evening long. Hours after your bath,
Mum will keep you as fresh and sweet as
when you started out.
ANOTHER IMPORTANT USE FOR MUM
—Thousands of girls use Mum for Sanitary
Napkins because they know it's gentle, safe, sure.
Ai'oid worries and embarrassment with Mum.
ONE HALF MINUTE AND YOUR CHARM IS SAFE
THAT BATH WAS
GRAMDINOWATOUCH
OF MUM UNDER EACH
ARM AND ILL BE SAFE
ALL EVENING!
TAKES THE ODOR OUT OF PERSPIRATION
Ann Miller in "You Can't Take
It With You" is ballet conscious
— and how!
A bit surprised at her own agility, Ann is about to yell
for help, but the good old family armchair comes to the
rescue.
■ ^
A DANCER!
You can't say Ann doesn't try!
Now isn't that coy? We like
that one. This girl has possi-
bilities!
8
Where'd you learn that step,
Ann? Don't tell us! We've
guessed it — you made it up!
Don't give up, honey child.
You'll be another Pavlowa
bye and bye!
MODERN SCREEN
3
5^
Pat in a grand new
part... a night-world
Iting who rules with
a glad hand I
A dashing new per-
sonality fights and ^
loves his way to
Hollywood's heart! '•
^1
- r irr/:::rrr::^ — '
with surprises! Be tnere w -^-W
WAI^NER BROS. PRESENT ■ ■
OF THE ^
"Everybody butt
turns in a five-bell
performance."
— Jimmie Fidler I
'he greatest
Lindsay you've
role that's the soul
of romance I
V.
1^
DIKCTED BY BUSBY BERKELEY. Scr«n Play by Jerry Wold and Richard Macouloy
From the Solurdoy Evening Post Story by H Bedford-Jones and Barton Browne • Music
[and lyrics by Horry Worren, Al Dubiil and Johnny Mercer • A First Notional Picture.,
Heor these oreol new song hill! "GARDEN OF THE MOON," "lOVE IS WHERE
YOU FIND IT," "CONFIDENTIALLY," "THE LADY ON THE TWO-CENT STAMP,"
"GIRl FRIEND OF IHE WHIRLING DERVISH."
X VW n V ■■■ H wm w wm mm mm
>WHITE ELEPHi
m
k
[NTS
"I've got everything I want," says Joe E.
Brown — and means every word of it
^-rrfTTTTf
BY JULIA SHAWELL ^
IN ONE of those well-kept imposing California stables that
make a lot of people envy the life of a race horse, a short slender
man, gaily decked out in an English country coat, was quietly
stroking the side of a smooth, glossy mare. The horse whinnied
appreciation of such admiring attention and the man, in expert
fashion, opened his mouth wide to imitate his four-footed friend's
"thank you." Joe E. Brown lost the contest by an inch — and the
size of his teeth.
Massa Brown was being one of the landed gentry, surveying
his domain. "From elephants to horses, and it took a long time,"
he remarked with a reminiscent note.
"Well, if it's horses you want, you deserve them, Joe," a watch-
ing friend replied.
"But the elephants weren't so bad — not even the white ones,"
retorted Joe with that genial broad grin he doesn't reserve for
the remunerative occasions when he's being paid for it. The kind
of elephants that never forget were the ones Joe E. Brown had
to water, a long time ago. And what a reservoir it took, when the
lonely little circus slavey tended them. The white ones, though,
are what Joe calls those bad breaks that are part of every real
trouper's road to glory, and he says he'll always do the remem-
bering for them.
Elephants, white and otherwise, have played an important part
many times in the Brown career. In fact, there have been a
couple of stall occupants on Joe's San Fernando farm which
might be classed in the white elephant family, judging by the
way they've gone around the track for their owner. But elephants
or horses, they're all just a part of the fun this unassuming,
kindly star gets out of living.
To the millions who crowd theaters all over the world when a
Joe E. Brown picture comes to town, this stellar comedian is a
lovable clown whose antics get under the skin of the crowd.
Away from his acting, he's a quiet sort of person who doesn't
waste his words, but makes sense when he talks. Home, job and
horses are his chief interests in life, and his family always conies
first with him.
Well-rounded as is his knowledge of general af¥airs, ambitious
as he may be about his Hollywood career, concerned as he is
about what happens around him, the most significant thing I ever
heard Joe E Brown say was this statement which he made not long-
ago, "I've got everything."
It wasn't a boast to create an impression, nor a remark to make
conversation. Right out from deep inside of him those words
came, and they carried a conviction of such contentment and
happiness as are rare in Hollywood — or any place else.
"So you're the man who has everything?" he was asked, with
an "I've always wanted to meet that man" suggestion.
"Well, everything I want," Joe answered. It's wonderful —
especially because it's true.
Joe E. Brown has all those things he used to hope would come
to him, but sometimes didn't dare to dream he'd get. He has a
film contract that not only gives him one of the Class A cinema
salaries, but also permits him considerable authority in choosing
his stories and planning his productions. He has a wife, the same
one he married over twenty years ago. He has four children who —
well, when you get him started on that subject, it's difficult to
switch him to any other. He has a house in Beverly Hills, a
ranch-farm in the San Fernando Valley, {Continued on page 113)
10
Above, Joe takes small daughter
Mary Elizabeth aboard Jumbo. Below,
Joe and Mrs. Brown at the races.
MODERN SCREEN
11
Marie Antoinette ^^^^^^
as her. finest pertor shearer and he .^^ finest It ^°
proclaimed botn i pageawr^ ^^^^ *'^l;,"ctor W. S.
P "Marie Antoinette P^'^^^^* inump^i ior d\«rtor ^
.tapaceunusuaUor.^^^^ a a^""^^^''tl7 ' W
For Miss Shearei deUgfited witu g,. is Ro°?Vv-ng who
and her ^o^^.^^Sch " « does
the portrayal wnici ^^j^^ prance j^^ie man. f V
^^^k S'tHSel^notrne ^^^X,i:::\Tl^r- |Trrym"r\ V^/
The Shopw°;^"J„';,? J.. M ^^^^
thr
ing
good
It is
.mmmmm
heart. In tne -^-^y of \var an ^ ^
Margaret filmdom, anQ j „ ^^^^^^^ Ji';5^°"standing
*** The ArnaZmg Ur.^^^ crime and^eacti^^^^^^^^
When a "P^lif^^- f seri^^^^
^"r"^n!is'up "ith the -lXn<^'s "*e interest O S e^^^^^^ ,he
and wmds up ^^ese thin<=^ ^^^^ „;iost inter
did he actually ao the -p^Wnson completes
the question asKea ^^^^^ reactions for
current films. (^^itterhouse ^ ^^^^^^ i^,s re-i ^^^^^
A the ama^ ng U P^^^^i'.^lb'e stolen f °d\p°o"se of them,
a series of °arins ^rime. Trevor) to disP" yaien-
•1 J-V,!! 4
t«?l^ "to the police. U^. j^ry conv...
formed prizenb
12
BY LEO TOWNSEND
Four's a Cjowa
bv weaitny "Rnsalmd. 1^"' Vp, however, turns ^-Upr
^ Errol Flynn gi\e,\^^'i, with flying The beautiful De
RozRusseU comes thro^^^^^^^ ^ni j/l Xtrici. « completely
formance IS both ent^^^.^1^ daughter ' Herbert comes
night to mdi'^ make himselt as
*** Professor. Beware ^^^^ ^^^^
Harold Lloyd's ^^ThS^nJT'r.r.^^^,^,
abrent-minded about Prot^^^^ Sennett era^ I J^^P^^^.ees a fine
that slew audiences oi u honest hokum stiu s g^gg_
wfth not a trick missing. Bnt preview. audience s iio ^^^^
The supporting cast ^^^se whatex e , ^^^^^^
language— even t-giPti ■
*★ Boy Meets Girl
★-^tJOy IVIC^.- t^,e screen,
d hit finally turns up on u c
The famous Broadway come y ^ ^^^^ ^^^gg however,. is
but it isn't as amusing as It ■"°^:'=\ho e familiar with
•^^Vhe plot deals -ith, the ^^^^^^ ,e Tho^e^^_^„ j^^,,
rtir^^ s of the P-^fff amusin.^^ ^^^^
aucer Ralph Bellamy, ^^^ose t ^^^^ ^ ^.gss Marie VN ^^^^^^^-^^^
'^'tii;s Jim Cagney t-at U ^.^^^ future thrillers—
SeCte condition proves the^n^ P baby or b- futu.e ^
The roving <^ovvboi i^ ^ ^^gsn t obj^'^^^pv becomes a star.
.,ewv writer B'^^"^ r ^_rtner is miscabu .
up ]
good.
,, and supples u>. .^- - -
Directed Wi..d^^^.^^^ OH paqe 82
Here's the tops in entertainment fare for every taste and every mood
13
''Variety and surprise
are the secrets of suc-
cessful lunches," says
Shirley Temple's mother
BY MABJORIE DEEN
These nut-sprinkled cookies are favorites
with most children, and they pack well too.
Courtesy C3eneral Fooas
CrX LLNCHES ARE
A PICNIC EVERY DAY in the week!
That's Shirley Temple's — and every other
child's — idea of a wonderful time. Whether
the food that makes the picnic comes out
of an elaborately well appointed basket or
out of a pasteboard box makes no difference.
But have you ever stopped to wonder
why the usual school lunch Idox ( with which
our youngsters will soon be trudging forth
daily) seems to hold no such charm?
When I asked her opinion on the subject,
little Miss Temple, for one, couldn't imagine
why that should be. But Mrs. Temple, wise
mother that she is, suggested the probable
solution, basing her conclusions upon her
own daughter's reactions.^ Which, despite
her fame, box office standing and amazing
poise, are lilvely to be pretty normal reac-
tions. For Shirley has much the same tastes
and opinions as the average youngster of
her age, and the same ideas on what's fun
and what isn't. And picnic lunches take a
high place under the former category, ac-
cording to the friendly, homey mother of
this wonder child.
"When we started to plan our trip East,"
declared Mrs. Temple in an interview that
took place in New York, "one of the
first questions Shirley asked was, 'Well,
if we go by automobile do we get to have
a picnic every day?'
"Naturally I didn't commit myself," she
continued, "for Shirley has a very care-
fully planned regimen for meals as well as
everything else. But as it turned out there
were many al fresco repasts along the way.
"At the Desert Inn in Palm Springs,
where we usually spend vacations between
pictures, Shirley's greatest joy is to have
lunch on our bungalow lawn with some
little friend. Even at home we frequently
picnic in the back garden, where I notice
it takes no coaxing to get Dad and the boys
to join us 1"
Undoubtedly what Shirley and all other
children like about picnics is their impromptu
air, was the way Mrs. Temple summed it
up. "But any youngster would soon find it
monotonous if these boxed meals were to
fall into a set pattern of repetition and
sameness. It's the charm of the unexpected
that makes any lunch box take on the
beloved and exciting attributes of an hon-
est-to-goodness picnic !"
So, from now on, when you send little
Junior or Mary Ellen off to school in the
morning, just get them to pretend with you
that that "nuisancy old school lunch" is
really a picnic. And have the box contain,
as does Shirley's, unexpected treats.
Did I hear you ask, "What, for instance?"
Nothing fancy, I assure you, for that would
not be healthful. Concentrate instead on
variety and the surprise element, to make
delving into the box a real adventure 1
For example, in her lunch box at the
studio or elsewhere, Shirley finds a lamb
sandwich one day, chicken the next, while
on still another day there are little biscuits
made by that fair young miss herself, with
her mother's help, in her own little glass-
brick playhouse.
Tucked away in one corner there might
be a stalk of celery stuffed with cream
cheese and nuts. A simple sponge cake
might be on hand to accompany the in-
evitable glass of milk, while under the gay
paper napkin a wax paper-protected piece
of candy might lurk. For good candy in
moderation, you know, supplies what every
child needs, energy. _ _
Why, the possibilities for variety, even
in so small a space, are indeed endless.
Fruits of all kinds provide a strong sup-
porting cast for the stars of the meal. A
sweet ripe banana, to mention one, supplies
extra food energy plus vitamins and miner-
als that growing children require.
By the by, why not delight your child
some day soon by making the school lunch
box sandwich with date bread for which
Mrs. Temple's favorite recipe is given here.
This easy-to-make bread is delicious used
with a variety of fillings and also boasts
long-keeping qualities.
And how about cookies for that midday
surprise? They pack about as well as any-
thing I know, and of course "packability"
is a prime requisite for school lunches.
Shirley particularly likes the flavor of these
nut-sprinkled cookies and so, I'm sure, will
your young hopeful.
"LUNCH BOX" COOKIES
Part 1
y2 cup butter, or other shortening
1 cup sugar
1 egg, well beaten
^'teaspoon vanilla
2 cups sifted cake flour
teaspoons baking powder
}4 teaspoon salt
Part 2
1 egg white, slightly beaten
1 tablespoon sugar
}4 teaspoon cinnamon
grated rind of 1 ' orange
Yz cup finely chopped Brazil nuts
Part 1 : Cream shortening thoroughly.
Add one-half of the sugar gradually, cream-
ing well together. Add egg and flavoring ;
beat well. Add remaining sugar, beating
until sugar is dissolved. Sift flour, measure.
Add baking powder and salt and sift again.
Add flour mixture to first mixture. Form
into a ball and chill before rolling. Roll out
small portions of chilled dough on a slightly
floured board to y% inch thickness. Cut
with floured cutter. (See illustration above.)
14
MODERN SCREEN
Shirley Temple adores box lunches
that are full of unexpected goodies.
FUN
Part 2 : Brush cookies with egg white.
Mix together the sugar, cinnamon, grated
rind and nuts. Sprinkle this ini^tiire nn the-
HED BE THE CUTEST BABY AT THE
PARTV IF THAT SUIT WASNT SO FULL OF
TATTLE-TALE GRAY
HIS POOR MOTHER MUST BE USING
LAZY SOAR I WISH TO GOODNESS SHED
SWITCH TO FELS-NAPTHA AND LET ITS
RICHER GOLDEN SOAP AND LOTS OF
GENTLE NAPTHA GET CLOTHES
REALLY CLEAN AND WHITE/
th
1
bre
mse
moA
The
see if you don't get the snowiest,
sweetest washes that ever danced on
your line! See how much easier and
quicker its richer golden soap and
lots of naptha make your wash!
.Change to Fels-Naptha! Get a
! few golden bars from your grocer on
your next shopping trip. You'll save
money. And you'll save your clothes
; from tattle-tale gray.
i
: GRAY" (PEPPIEST FLAKES EVER!^
siig SOAP! \ TRY FELS-NAPTHA
SOAP CHIPS, TOO!
Til
15
MODERN SCREEN
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SHE SHOULD WORRY!
(Continued from page 6)
years he had seen movie stars come and
go,_ rejecting all the other gifts of life in
their grim climb upward, breaking their
hearts as they lost their toe hold and went
crashing down again. He never made
speeches nor obtruded his own point of
view. When Gail asked him how he felt
about her work, he said, "That's up to
you, honey. I bring home the bacon. If
you want to do that for fun, it's your
business." But he won't let her worry
about it. If she comes home disappointed
over a part given or withheld, "So what?"
he wants to know. "We're happy, aren't
we?" And the whole picture takes on its
true porportions.
Now you begin to see why Gail will do
what others are afraid to do. Movie tra-
dition says the illusion of youth must be
preserved. An actress must never be more
than twenty-nine. Gail thinks not in terms
of movie tradition, but in her own terms.
Her mind cuts through fuzzy inessentials
to the core. "What if people do think me
older than I am? That doesn't bother me.
I never was the ingenue type. Who am I
to turn down anything? It isn't so easy to
kill a featured player, anyway. It might
be different if I were a star.
"The born actress feels, I'll die unless
I get to the top. But if I never get to
the top, I'll still be happy. Life looks
fine to me from just where I am. Don't
misunderstand. I want to be a good
actress. But I figure that my best chance
is to play every kind of part that comes
my way. Then maybe some day I might
turn in such a good performance that Til
fool everybody, even myself."
Her studio didn't want Gail to play
the other sister in "My Man Godfrey."
It wasn't a sympathetic role. She pleaded
and argued, and finally went to the top.
"Who cares whether it's sympathetic or
not?" she stormed. "Here's a chance to
work under La Cava, to play with Carole
Lombard, to learn something. If you
owned a piece of real estate, you'd do all
you could to improve it, wouldn't you?
Well, this is the same thing."
The head of the studio grinned. "Okay,
property. Go ahead- and improve your-
self. We wouldn't stop you for the world."
In the case of "Mad About Music,"
Gail's studio left the decision up to her.
"Frankly," they said, "we don't know
whether you'd be smart or not to play
Deanna's mother. It's up to you."
AIL read the script and thought it was
a honey. She considered it a break for
anyone to play in a Durbin picture. "At
least you know you'll be seen by the maxi-
mum audience. As for the mother angle,
it's possible to have a child at sixteen.
I'm twenty-six, and I look thirty. Oh
yes, I do." Laughter ran through her
warm Southern voice. "I've looked thirty
ever since I was twenty-two. With luck,
maybe it'll work the other way round,
and I'll go on looking thirty until I'm
forty. That wouldn't be so bad."
"And don't think I didn't learn from
that child. There was a scene where I
had to hold out my arms and say, 'My
baby !' That threw me. I sounded as if
I were saying, 'Let's go -fishing.' Then
suddenly she looked up and smiled, the
sweetest smile I'd ever seen in my life.
You couldn't help loving her, you couldn't
help meaning all the pet names you could
call her. If ever I have to go soft in
another picture, I'll only need to think of
Deanna's smile. I keep it here," she said,
poking at the general region of her heart.
"It's part of my stock-in-trade."
GLHZO
NEW TRORIC SHADES
16
1
MODERN SCREEN
Four months ago John Stahl told Gail
he wanted her for the part of Adolphe
Menjou's fiancee in "Letter of Introduc-
tion." They were about to begin shooting
when he sent for her. "The part's been re-
written. It's not big enough for you."
"That doesn't matter. I want to work
with you," Gail announced calmly.
Stahl clutched at his head. "I tell her
it isn't big enough, and she says it doesn't
matter." He broke into a yell. "Did you
hear that, everybody?"
An assistant came running. "What's
the matter?" he shouted.
"Nothing, nothing. For a minute I died
and went to heaven and saw an angel."
As it happened, she didn't play the part.
Instead, she was given the lead opposite
Warren William in "Wives Under Sus-
picion."
"But a few years ago this town had me
scared to death," Gail reminisced. "I was
afraid to open my mouth or show my face,
before Bob came along. He gave me self-
confidence. He believed in me, made me
feel he was proud to be seen with me, so
I began thinking maybe I wasn't such a
freak after all."
This statement floored me. That anyone
who looks like Gail Patrick should need
reassurance sounds impossible. But Gail
doesn't go in for coyness. When she tells
you something, it isn't for effect. It's the
truth, you can rely upon that.
Imagine a girl brought up in the nor-
mal environment of family, school and
friends, her course plainly marked out for
her, suddenly transplanted to the razzle-
dazzle of Hollywood. Yesterday a leader
in her class and social set, today a nobody,
surrounded by strangers.
She'd been taught that business was
business, and had nothing to do with per-
sonalities. She didn't know how to bare
her soul to all comers. As she put it,
"Nobody but my family had ever seen me
take down my hair, and I couldn't get
used to doing it in public." She was labeled
a freeze. She neither drank nor smoked.
So she was considered a prude.
She was accused of looking and acting
like a lady, than which there are few more
damning epithets in Hollywood. A lady
is a female, minus a heart or any of the
more endearing human traits. That repu-
tation did her more harm than anything
else, for it lost her good roles. Hesitantly,
Irving Thalberg once tested her for the
part of a girl who got drunk; He didn't
think she could do it, but after watching
her on the screen he was so pleased that he
gave her a contract.
THAT was encouraging, but it wasn't
until she met Bob Cobb that she un-
snarled herself in earnest. Here was an ex-
pert in the movie world who asked nothing
better than to spend his time with her. It
wasn't so much that he could steer her
right, as that he seemed blithely unaware
of anything wrong. To him she was per-
fection. She didn't smoke or drink?
What of it? She couldn't talk Holly-
wood's language? He liked her own.
The power of suggestion worked with
her, as it does with all of us. She grew
surer-footed. Her whole personality un-
folded in boundless gratitude and love.
"They lost the pattern after they made
him," Gail says, "and I'm not alone in
thinking so. Once we had a misunder-
standing and broke up. Often, on such
occasions, your friends rally round and
try to comfort you by telling you what
you've escaped. All the comfort I got
was, 'Gail, you're a dope. Better get that
guy back. You won't find another one
like him in a hundred years.' "
Her husband sends her flowers every
Tuesday, because Tuesday was the day
on which they met. Regularly on the
seventeenth of each month, their wedding
anniversary, a box arrives with a gift he
himself has chosen. Lately he's been con-
centrating on copper kitchen vessels, be-
cause she wants to do her kitchen in
copper. "Hey, Bob, the first year's over,"
a friend reminded him. "How long does
she rate a wedding present every month?"
"All the rest of her life," said Bob
briefly.
To him, she's still perfection. He in-
sists that she really is. She insists it's his
seraphic disposition that makes him think
so. "Sometimes I flare up and say more
than I should. He says, 'I'll be right back,
honey,' or, 'I think so too.' If I want to
stay home, that's swell, he's just discovered
he's tired. If I want to go out, that's the
one thing he's been yearning to do. Any
little mistakes I make, that's exactly the
way he wanted it. If I invite people he
doesn't like to dinner, it's wonderful how
he couldn't have lived another day with-
out seeing those very people. It sounds
like a gag, I know. But that's the kind
of a man I married, God love him. Here
he comes now."
He paused at the table again, a husky-
looking seraph, blissfully unaware of the
wings I saw sprouting from his shoulders.
"I've been telling how it took me three
years to talk you into marrying me,"
said his wife.
"Are you through? Now I'll tell the
real story. Okay, Mrs. Cobb?"
Their eyes met in that look which shuts
the rest of the world out. "I'm not afraid,"
she smiled.
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17
MODERN SCREEN
A MODERN GIRL HAVING A MODERN GOOD TIME . , .
SWANK CLOTHES, SWELL DATES, SWEET ROMANCE.. .
THAT'S SONJA NOW, SO DAINTY, SO DESIRABLE, SO INCREDIBLE!
/
. All dressed up, and plenty of
places to go, as the queen of
a co-ed campus ! Laughs sail
through the air like ski-jump-
ers! Love calls in the good
young American way for-
ever and ever ! And the sump-
tuous ice climax will bring
you to your feet with shouts
of wonder and delight !
deep i" '•'^tl .
SnoW-oe^P Revel-
SONJA HENIE
and
RICHARD GREENE
with
JOAN DAVIS
CESAR ROMERO
BUDDY EBSEN
Arthur Treacher • Billy Gilbert
George Barbier • Louise Hovick
Patricia Wilder • Paul Hurst
Directed by Roy Del Ruth
Associate Producer Harry Joe Brown
Screen Play byHarryTugend and Jack Yellen • From
an original story by Karl Tunberg and Don Ettlinger
a 20th Century-Fox Picture
Darryl F. Zanuck
in Charge qI Production
Every woman in
America will be
crazy about Sonja's
twenty - eight new
Fall costumes
styled by Royer!
18
DOROTHY
/WHAT S THE
?
Why has happiness
eluded Katharine Hep-
burn? Can she save
herself now?
1 i^tv,<=<; and dodging
Wearing X'^^^^Xo ot^^"^^^
everyone have been m^^^_
Shall she be wife, stage or
BEFORE THIS summer is over Katharine
Hepburn must decide which road she will take.
Shall she go on splitting her precious youth
between battles in Hollywood and heartaching
attempts to establish herself on the New York
stage? Shall she remember, before it is too
late, that first of all she is a woman? Or
shall she toss off her mistakes of yesterday
with a fierce saneness and begin a last, grand
effort to become the triumphant, superior
person she originally resolved to be?
In Hollywood today there is a profound
curiosity as to which future Hepburn will
choose. She has still, obviously, great unde-
veloped potentialities. Up to now it has gen-
erally been Kate who has foiled herself.
Now once more her course is open for her
own selection. There are no strings, no ties
that bind. She has movie fame, wealth,
health, and no man to interfere with
her career. She's seen to all this. Yet is she
content? No! Happiness is eluding Hepburn,
Kate impatiently hastened her arrival at the
cross-roads by walking out on the studio
that discovered her and made her renowned.
She's no longer under contract because when
they ordered her into cheaper pictures she
indignantly refused. Is she then going back-
wards after six years of Hollywood's spar-
ing no expense to develop her ? She really
hasn't, she declares, the slightest intention
of even considering a move like that.
The very idea of abandoning her
pedestal makes Hepburn furious. Just
the thought of having to do anything she
doesn't want to always makes Kate see
MAYBE IT'S be-
cause he is tall enough
to make any girl feel petite
alongside of him. Or because
he is good-looking enough, but
not so good-looking that he makes
a girl wish she had put on more make-
up. Or maybe it's because he is so
natural and human that a girl can forget
that he is also a famous actor.
Whatever it is that James Stewart has, it's enough
to give the feminine population of Hollywood goose-
flesh and complexes. At least, that's the impression
I've gotten, listening to the feminine population.
No male bystander, noting such a phenomenon, could help
wondering how Jimmy has managed to elude matrimony.
How has he managed to maintain his bachelor standing ?
So I decided to ask him.
I found Jimmy in the San Fernando Valley, work-
ing on "You Can't Take It With You." Today,
on an interior set, with a city street and a city
crowd visible through windows in the back-
ground, Jimmy had been dancing jubilantly
with Jean Arthur. And it wasn't a day for
jubilant dancing. Between the California
sun and the Hollywood arc-lights, the
temperature on the set was every
bit of 108°.
We went to luncheon in an air-
cooled restaurant and, for a mo-
ment, Jimmy didn't say any-
thing. He took a long quaff
of beer and looked at me
accusingly over his glass.
"So," he said finally,
with pained delibera-
tion, "you're putting
me on the spot?
Before I even
get a taste of
lunch, too."
He shook
his head
BY JAMES REID
ruefully, as if that were the unforgivable part.
Turning on fiendish grin number seven, I intimated
that we had a lot of ground to cover, what with romance
rumors and all, and therefore couldn't begin too early.
His answer was a bewildered grin, a shrug of the
shoulders, and, "What's there to say ? A fellow doesn't
get married just to oblige some romance rumors. He has
to find the right girl. At least, that's a quaint little notion
I've always had. So far, I haven't found her. As far as
I'm concerned, that explains everything."
But, with all the possibilities that Hollywood had to
offer, how did he explain his not having found her?
"Maybe," he hazarded, "maybe I haven't met all the
possibilities. Or maybe I haven't been concentrating hard
enough on the search. Or maybe she's hiding from me.
That's quite possible, too."
He hadn't built up any advance notions of what she
would be like. He was open-minded.
"Though I don't think I'd mind if she were a sort of
duplicate of Margaret SuUavan," he volunteered, looking
hard at the roll he was buttering, like a man talking to
himself. "She could be the same size, look a little like
that, be a little like that. Un-artificial, for one thing. I've
known SuUavan for years. I knew her 'way back in the
Cape Cod acting days — even if it didn't get me anywhere
' — and she's the kind that wears well."
I gave Jimmy a thorough once-over. A few casual
strands of hair were sneaking down his forehead. His
necktie was askew, his collar unfastened. He didn't look
like a fellow who would insist on getting acquainted with
a girl for a few years before he decided whether or not
he could fall in love with her. But you never can tell by
looks. So, to hear what he would say, I told him that a
few people had the idea that he didn't want to get
married, that he was having too good a time as a bachelor.
"Those are fightin' words, pardner," he said. "There's
nothing I'd like better than to settle down. 'The fun of
being single' is a snare and a delusion, an exaggeration, a
canard. The life of a Hollywood bachelor is fraught with
hardships. Take it from one who knows."
That called for plenty of explanation. And Jimmy,
particularly now that some solid food had at last arrived
in front of him, was willing to explain. Between mouth-
fuls, chewed with typical Stewart
deliberateness, he elucidated this way :
"Well, take these romance rumors, for
example. You go out with Gloria Glutz once
or twice, because Gloria likes to dance and you like
to dance, and she's companionable and you're com-
panionable. Then, first thing you know, there are romance
rumors. People come up to you and say, 'Look, this is
getting serious. Let us in on the elopement plans.' That
strikes you funny — after all, you've just met the girl —
and you laugh. The word gets back to Gloria Glutz
that you guflPawed at the idea of a romance with her.
And that's the end of you with Miss Gloria Glutz.
THAT'S JUST one of the things that can happen.
And do happen. I know. But the romance rumors
still strike me funny. Any other place on earth,
after you go out with a girl three or four times,
people assume you're beginning to get acquainted
with her. Here, people suspect you of being
secretly married to her. Well, practically. And
the whole big happy family crowds in around
the two of you, to see whether or not the
romance is going to last. They don't seem to
realize that it hasn't even started yet, that, up
to now, it hasn't had a chance to get started.
"It's a sad set-up, very sad," said Jimmy,
forking viciously into his Salisbury steak.
"Suppose you're just beginning to like a
girl, and she's just beginning to like you.
Somebody starts a romance rumor. May-
be both of you laugh it off. After all,
what's a romance rumor between
friends? But, sub-consciously, both of
you build up your sales resistance to
a romance. You don't want her to
get the notion that, as far as you're
concerned, she's the only flower in
the garden of love. She doesn't
want you thinking that she can't
live without you. And, before
long, you aren't holding hands
any (Continued on page 72)
Will Paulette Goddard divorce Charlie
Chaplin? Rumor is divided. Now
Paulette gives you her side of the story
PAULETTE GODDARD has never had the slightest
intention of filing suit for divorce against the sad-eyed
little man with the funny mustache, Charlie Chaplin.
If he should ever want his freedom and ask for it —
well, now, that's another story. But, in a town where grati-
tvide is an almost unknown virtue, the little girl whom
Charlie made a star is grateful. She appreciates not only
her chance at stardom, but the hours of happiness which
have been showered upon her by the man she loves.
That she herself has made the most of her opportuni-
ties, taking every slight bit of instruction seriously,
changing her entire pattern of life so that the fabric
might be that of a star rather than that of a chorus girl,
she discounts as nothing beside the fact that Chaplin
gave her the chance to make good. And though it's
David Selznick who's offered her her latest opportunity
to create an important role in "The Young in Heart,"
she hasn't forgotten the man to whom she feels she owes
Under Charlie's guidance,
Paulette exchanged curves
for svelte lines, pretty frocks
for smart gowns and costume
jewelry for real diamonds.
Charlie Chaplin, master of comedy
and pantomime.
Paulette with Doug Fairbanks in
"The Young in Heart."
i
WANTS TO STAY
the deepest debt of gratitude, the chap who turned her
from a blonde chorine to the voluptuous, finished actress
that she is today.
And rather than hurt or distress him in any way, she
would sacrifice her own hope of personal happiness,
throw away forever her right to be free, and maintain
her present (rather secret) status. Other little actresses
in the past have climbed to stardom through marriage
and then, having attained success, have had few com-
punctions about throwing aside the husbands who aided
them. But not Paulette. She's too grateful.
Born Pauline Levy, a native of Great Neck, Long
Island, she attracted little attention in the film colony
until Chaplin,' the man who's always been the vivid ex-
ception to every rule, the paradox who's mingled pathos
with fun-making, took her under his guidance and made
her not only the leading lady in his life, but in his last
picture, "Modern Times." Under his guidance and
tutelage, she exchanged curves for svelte lines, pretty
frocks for specially designed ones, and costume jewelry
for real diamonds and rubies.
With her mother, Mrs. Alta Goddard, acting as
chaperone she has put in appearance with Charlie at Palm
Springs, Lake Arrowhead, the Catalina Isthmus (where
all the film famous moor their boats) and Del Monte.
Together, the three of them have been seen at all the
right places and, since October, 1932, moviedom has
linked romantically the names of Paulette and Chaplin.
But, though the film colonyites guessed a marriage
ceremony had been performed, neither of the principals
would admit as much. Charlie replied to questioners
that he was anxious to launch Paulette on a career of her
own before letting the truth in regard to their marriage
be known. As time went on, however, certain facts leaked
out which seemed to substantiate wedding rumors.
Before they left on a trip to the Orient in 1936, Holly-
wood columnists carried interviews in which Chaplin was
quoted as saying this was to be his honeymoon voyage
and that he would be married somewhere along the way.
A couple of months later, his agent in Singapore reported
receiving a wireless message from the actor asking him
to "do your utmost to arrange for our marriage."
THIS MESSAGE raised a great cry the length of
the Straits Settlements, and everyone began a discussion
of the validity of American divorces (Chaplin having
been married and divorced twice previously) under Brit-
ish law. Then officials opened an inquiry as to whether
a special license such as would be required by the
comedian under the circumstances could be granted him.
Archdeacon Graham White, when contacted, flatly re-
fused to perform a wedding ceremony in the Anglican
Church because of Charlie's previous marriages.
However, the following day, March 19, while no de-
tails were given, the wire services of United Press carried
the following report: "Charles Chaplin and Paulette
Goddard were reported married in Singapore today."
That was all it said, but sources close to the couple inti-
mated that they had been married by Captain Dave An-
derson, skipper of the yacht "Panacea," on which
Charlie and Paulette were sailing.
Just about a year later, Elias Berger, a wholesale
jeweler in Hollywood, who had just delivered to Paulette
Chaplin's latest present, a wide platinum bracelet set with
marquise diamonds and linked together with smaller ones,
reported that Paulette, while thanking Charlie had ob-
served that "this is my wedding anniversary present.
Where we were married, he
couldn't even buy a simple
wedding ring."
"Where we were married."
That little phrase seemed to
tell a story of a wedding in a
little village in a far-off land.
So Berger, on his next trip to
their house took along a slen-
der band of platinum set with
marquise diamonds which he
offered as a substitute for the
band that already should have
been on her finger.
"She was like a child with
{Continued on page ^1)
BY KAY
CAMPBELL
MARRIE
OF HIS SHADOW
Did you know that the best dancer in America is the victim of an
THIS IS none of my business. But I consider Fred
Astaire a very unhappy young man. I believe that he
lives within a self-imposed nightmare of insecurity,
that he constantly worries about what people Avill
think or say about him.
I have reasons to back up my opinion, reasons that have
accumulated not just yesterday, nor the day before, but
over a period of years. Here they are, offered (believe
me, Mr. Astaire) in a spirit that is both well meaning
and friendly. I even hope it will be helpful.
Recently a popular magazine ran a short story about a
college boy who was so self-conscious he was all hands
and feet. Of course he had a crush on a girl, and he
was going to escort her to the prom — or die in the at-
tempt. So he went to a second-hand store
and hired himself a dress suit. After he
took it home, he discovered, through the
label, that it had once belonged to no less
a personage than the famous Fred Astaire !
According to the story, this remarkable
coincidence gave said college boy such
confidence and ease that he immediately became
the beau of the ball, danced the Rhumba like a
Cuban, and, what's more he even won the girl
he'd formerly been too shy to court.
What a pleasant little tale! Understandable,
too. I can see how it happened. But the
author might never have written that story
if he had really known Fred Astaire.
Granted that on-screen Mr. Astaire has
the poise and dash of a Duke of Wind-
sor. Granted that off-screen, he is
rated one of the world's best dressed
men. Still, of all the stars I have
interviewed, over a period of
fifteen years, Fred Astaire
stands out as the one pos-
sessing the greatest in-
feriority complex !
By inferiority
complex I
don't
mean
NANETTE
K U T N E R
modesty. Valentino had that. And I don't mean humble-
ness. George Raft has that. Raft is forever conscious
of his roughneck background, but always likable because
his personality hits you straight from the shoulder. He
has a sort of take-me-or-leave-me quality, with abso-
lutely no pretensions or affectations.
No, when I say that Fred Astaire has an inferiority
complex, I mean exactly that. To an interviewer he gives
a lack-of-self-confidence impression, as though he felt not
quite good enough, as though he were always walking on
eggs, always afraid of something.
Let me go back a bit to the first time I met him. The
Astaires, Fred and Adele, brother and sister, had just
come into the big money class. They were starring in
"Lady, Be Good" and dancing at a
swanky night club. Often I would
drop backstage to chat with Adele.
She was lively. She was natural. She
was a lot of fun. She was the exact
antithesis of Fred. Although, at the
time, I did not know him except as
someone who poked his head in and out of her dressing
room. I could see that her breeziness annoyed him. I
think he resented it. Perhaps, because, like most self-
conscious people, deep down in his heart he would have
liked to have been that way too.
One day Adele shouted, "Freddie's got a girl. Look
out front. She's a blonde. I'm so thrilled. You know,
he's very bashful !" Brother-like, he was furious.
I especially remember one time when Adele came to the
gala opening of a dancing school. Her hair was in
curlers, tucked up under her hat. If Fred had been a
woman, never, in a thousand years, would he have done
such a thing. He would have been too worried about
what people might think.
For he was (and still is) the worrier. In those dress-
ing-room intervals he would worry about Adele's practic-
ing, about the music's tempo, about the audience, about
their responses and about every tap in his routines. I am
not criticizing him. This kind of worrying simply means
that Astaire is a true artist, never satisfied with results.
It is only the public-opinion worrying that bothers anyone
who has worked with him.
As you know, after Adele married her nobleman, Fred
Astaire went qn alone. Then came my second interview.
On the screen Fred
Astaire appears poised
and suave, yet he is
actually afraid of his
past^pvesent and future.
amazing inferiority complex?
Somehow, there had been a mix-up. The press-
agent had forgotten to notify Fred. So, a tall
skinny figure, huddled in a blue flannel dressing-
gown, he sat on a trunk, backstage of "The Gay
Divorcee," and told me he just couldn't give a
story because he "wasn't prepared."
Ten days later I got the story. This time the
stage was set. We were in his Park Avenue apart-
ment. A backgammon table stood near the window.
A well trained servant opened the door. And
Astaire was all good humor and shy boyish charm.
He was going to get married, "but don't print
that." He- was going to Hollywood "but," he raved
as he stood in front of a mirror, "who wants this
face in pictures. Look at it. Til be terrible !" It
was plain enough. He was already scared to death
YOU WOULD think that after his tremendous
screen success this inferiority bugaboo would
have taken flight. But, no, Hollywood has made
him worse. When he was on Broadway there
had been rumors. His partners had told how
he cried when a dance went wrong. His
producers had repeated the story. But Broad-
way has a sense of humor. It had winked
its eye, dubbed him "Moaning Min-
nie," and let it go at that. But Holly-
wood panders to his temperament, a
temperament that is the natural off-
spring of that inferiority complex.
They say that he never kisses an
actress in a picture. If this is
true, if, after paying him hun-
dreds of thousands of dollars
Hollywood actually lets him
get away with that, then
Hollywood is balmy.
If, while he is be-
fore that camera,
the script calls
(Cont'd on
page SO)
Claudette Colbert
is adored in HoIIy-
wood because she
is sympathetic,
tolerant and never
high'hat. Such
traits always in-
fluence people.
YOU'RE TIRED of your job and the dull monotony of
your existence. You wonder why Mamie Jones, no better
looking, with less education and brains, has got ahead so
much more quickly than you have. Goodness knows,
you've tried hard enough.
"Maybe it's all luck," you say bitterly. "I never got
the breaks. That's the only difference."
In a way, you're right. You never did get the breaks.
But why not? Simply because you lacked the most vital
ingredient needed to make anyone a success — ^the ability
to win friends and influence people — which is so im-
portant that a book on the subject by Dale Carnegie,
"How To Win Friends and Influence People," set a
new record for best sellers.
All Dale Carnegie did was to formulate the rules by
which you could influence people. But the Hollywood
movie stars have been living up to their own rules, which
they discovered long before Dale Carnegie's book was
ever heard of. They would not be stars today if they
didn't know how to influence people into giving them the
kind of publicity they want and the kind of roles for
which they are best suited. Yoy may be very sure of that.
Take a lesson from the movie stars who, believe it or not, knew their
By honestly appreciating everything anyone
does for her, Eleanor Powell makes those
around her happy.
Often their careers depend upon whether they have
more friends, eager to boost them to success, or more
enemies, who would welcome an opportunity to knife
them in the back. I am sure that when Ethel Merman,
that dark-haired, tempestuous gold digger of merry
memory, first met George Gershwin, it never occurred to
her to try deliberately to influence him. But from the
beginning it was very evident that she was interested in
his work and genuinely awed by his great musical ability.
He, in turn, became interested in her personality, and
although she was a young, comparatively unknown singer,
he composed "I've Got Rhythm" with no other purpose
in mind than to fit the striking personality of this girl.
"I think," he told her, "this song will make you a star."
It did make her a star—one of the gayest, brightest,
most twinkling stars on the New York stage, but the song
would never have been composed if Gershwin had not
become interested in Ethel Merman because he sensed
her sympathetic interest in his own problems.
George Murphy, who recently made a brilliant come-
Being big enough to admit his mistakes has
won for Nelson Eddy mcmy a friend and even
a renowned music teacher.
back in pictures, was at one time particularly anxious to
land' a dancing job in one special club. Sizing up the
situation, however, he discovered that asking for the spot
on the floor show would accomplish nothing.
The manager was a friendless sort of person who awed
everyone by ensconcing himself behind a mammoth desk
and remaining there while he pushed buttons for attention.
Discovering this fact. Murphy set out to try to help the
man out of his loneliness. At first, George's entrance
into this man's office was rebuflfed.
"Oh, I just wanted someone to talk to," he would say,
"and I'm interested in the work you're doing and the way
you're doing it. Just thought perhaps you wouldn't mind
chatting with me for a while."
After a time, the club manager began to look forward
to Murphy's visits. One evening after a particularly pleas-
ant session he asked George what was his line of work.
"I'm a dancer," young Murphy replied.
"Why didn't you say so before?" the manager boomed.
"I have a place for you in the (Continued on page 90 )
psychology long before Dale Carnegie's iamous book was ever heard oi
Fredric steals a march on failure and turns it to glowing success
BY GLADYS HALL
FREDDIE TOOK a spanking on the place where
spankings hurt actors the worst — his ego. And he took
his spanking, as he has taken his successes, handsomely,
nonchala^ntly, withal thoughtfully.
"Success can be failure," said Fred, his teeth in a
cheese sandwich, his wife on his lap, his wise, amused
eyes on me. "But failure can be success, too. Ever
think of that? We have, haven't we, Mommie?" he
asked, with a. sly wink at Florence, "We are Case His-
tories lA and IB illustrating this hopeful theory."
"I'm going to take a nap," said Florence, making an
unsuccessful effort to remove herself from the lap of her
lord and master. Unsuccessful because Freddie, as you
may have noticed, has a way with women on the screen.
He has the same way at home.
I said, "Are you referring to the Marches on Broadway
last season? To the play titled 'Yr. Obedient Husband,'
starring Florence Eldridge and Fredric March ?"
"I am," said Freddie, with a gusty sigh. "I am also
referring to the hurried funeral of same. But I am
thinking of more than appears on the surface. It wasn't
just a play that flopped, you see, it was a dream. It was
a dream we'd dreamed, Florence and I. A dream with
a capital D. Then one week passed and we wrapped it up
and put it away. Or it was wrapped up for us, in nice
prickly cactus leaves."
"I want to take a nap," said Florence, wriggling.
Freddie's strong, right encircled her firmly. He said,
"You look too well to need a nap," and went on talking.
He said, "It was kind of a hurdle to me, you know, the
theatre — a hurdle I wanted to make very fleetly and
successfully. Florence had done it. She was a success
on Broadway before we came to Hollywood. I have
never really cracked it. I'd played featured roles on
Broadway, as you may remember, though why should
you? I'd been in such plays as 'The Half-Caste,'
'Puppets,' 'Devil in The Cheese,' and others. On the
road we played for the Theatre Guild. In Los Angeles
I played in 'The Royal Family.' That was the play that
started me off in pictures.
"But I'd never really done it, you know. I wanted to,
badly. Florence came out with me when I went into pic-
tures. And she has stood by, a willing and very cheerful
martyr to my career, forsaking her own. So we both
wanted to make good, Florence again, I for the first
time. Well, we went back. We flopped. And it taught
us a lot of things. Nice, acid things, good for the soul.
"Just before we got to New York last winter Florence
had a qualm. She said to me, 'Do you think we are
making a mistake?' I answered, 'What can we lose?
Sixteen or seventeen thousand dollars and a couple of
reputations, that's all !' "
WELL, THEY lost the thousands, but out of the crema-
tion their reputations rose up, brighter Phoenixes than
ever they had been before. Which is saying something.
They came out of the debacle, all their colors flying because
they were good sports about failure. They've learned that
when you can laugh at failure it isn't failure any more.
I think that I have never seen an actor take a spanking
on his ego more sportingly than Freddie. He proved
that mummers are men. He proved that Hollywood suc-
cess doesn't soften, after all ; doesn't do something to the
fibres of its darlings so that they can't take the raps
when they come.
I gazed upon Freddie with new respect superimposed
on the respect I have always felt for him. For the
strength and simplicity with which he has gone about
carving out one of the most successful careers in Holly-
wood. Never a headline hero, Freddie. Never any
ballyhoo. Never one of the "'sensational" successes of the
school of Valentino, John Gilbert, other fiery spellbinders.
None of the Barnum methods. But in every picture he
makes, he scores an authentic {Continued on page 103)
Florence Eldridge (Mrs. March to you) was a
Broadway success before she married Freddie.
Fredric goes dramatic to amuse Virginia Bruce
between scenes of "There Goes' My Heart."
41
Meet the Jones family! From
WE'VE BEEN asked to lunch with the Jones family
today. It's an invitation few would refuse. To you
and me and thousands throughout the country, the
Joneses are as real as the people next door. You and I
and those thousands are responsible for their continued
existence. When "Every Saturday Night" was being
made, it was just another picture. No one suspected
it was also a fruitful seed, about to take root and
spread into a family tree.
Then it was released, and with a promptitude there
was no mistaking, America took this typically Ameri-
can family to its heart. Much as they might have
said, "We like those people who've moved in across
the way. We want to see more of them," so they said
in a million voices that swelled to a sweet-sounding
roar, "We like the Joneses. We want to see more
of them. We want to go to Bonnie's wedding and
watch Roger in the throes of puppy love. We want
to hear Dad yell 'Louise' when he gets into a mess,
and we want to sneak a cup of coffee with Grandma
in the kitchen." Or as one fan put it, "We can't bear
to lose sight of them. They're kinfolk."
There's nothing curious about the fact that they
look like a family. Max Golden, the producer, bore
that idea in mind when he spent weeks choosing the
original cast, which has been kept intact throughout,
except for the substitution of Shirley Deane for June
Lang after the first picture. They bear such a
42.
Left to right, Alan
Dinehart, Russell
Gleason, Ken How-
ell, Shirley Deane,
George Ernest, Di-
rector Herbert Leeds,
Jed Prouty, Spring
Byington, Florence
Roberts, June Carlson
and Billy Mahon.
Grandma down to Billy they're as happy and lovable off-screen as on
striking resemblance to one another, they might all have
been bred from the same stock. They all have blue
eyes, fair skin, round faces for the most part, and hair
shading from blonde to light brown.
"Of course Jeddy's hazel-eyed," points out Grandma.
(Florence Roberts is Grandma to them all, off-screen
and on.) "But then, he takes after his father."
"Brown sheep of the family," cracks Kenny Howell.
"And you can see that they get their button noses
from me," Mother Byington chimes in.
"Whatever they get from you," grunts Dad Prouty^
"they can thank their lucky stars for it."
The children break into a chant. "Dad-dy's ma-king
lo-ove to Mo-o-thah !"
"And who has a better right, you young gangsters?"
"He calls us that," dimples June, "because we're
always ganging up on him."
The curious thing is that even off the screen, there
seems to be a certain kinship among them — the kinship
of good humor, perhaps. Gathered 'round their table
in the cafe on the studio lot, they remain as home-
like a group of people, as pleasant to know as those
who eat in the Jones' dining-room. There is the
same give and take of good comradeship. There is the
same implicit affection without sugariness. Dad Prouty
ribs the children. The children take it and bounce it
back. Grandma feeds George a forkful of her dessert,
because "he wants to see if he likes it." Mother Bying-
ton reads the menu for Grandma, ties Billy's napkin
'round his neck, tells Shirley how pretty her hat is,
waggles her finger at Kenny who is late, and draws
Dad out on the subject of his reminiscences — all with
as deft and gracious a touch as her screen prototype.
She passes 'round a snapshot she's taken of June.
Dad Prouty takes a squint at it. "Hm, she looks like
a colt sitting there — all legs."
"Well, if the Lord's made anything sweeter-looking
than a colt, I've yet to set eyes on it," retorts Mother.
"When is a colt not a colt?" inquires Kenny, imps
dancing in his eyes. "When he's sitting."
This strikes Billy as pretty funny. He chokes over
his milk. Shirley rescues it and thumps him gently on
the back, like any sister would.
"ril take your picture, Junie," offers George, the
candid camera fiend.
"Thank you, Georgie," she murmurs sweetly. He
scowls, and her dimples deepen. " 'Scuseitplease,
George without the ie."
They're contracted for four pictures a year. Between
pictures they go their separate ways. "But when we
get together again," George explains, "it's like we'd
just been away for the weekend or something, and
we're glad to be back."
"Like any family," volunteers Shirley cheerfully.
"Not like any family," snorts Grandma. "Indeed
not! IVe all like each other." (Continued on page 94)
43
Danielle Dar-
rieux's luscious
all mulberry en-
semble is en-
riched by sable
revers and muff.
Right, on Lynn
Bari' s velvet
suit fox fur
swirls grace-
fully from col-
lar to cuffs.
SOCIAL SECURITY can be a lot more than "pie in
the sky" if you take your wardrobe tips from the current
film fashion parade.
"The Rage of Paris" presents Danielle Darrieux in a
series of fetching frocks, well suited to the Latin looker's
willowy proportions. Her street things belie rumors of
longer suit jackets. Better for the five-feet-fours and
under, to ignore such rumors though, as the hip length
jacket lops off height. In "The Rage of Paris" Miss
Darrieux sets out to land a millionaire, wearing a bolero
suit with slim skirt and trimming concentrated at the
top. The brief jacket is bordered all the way around with
fur and the sleeves have double fur cuffs. Another stun-
ning street suit of mulberry rodier jersey has a peplum
jacket with revers and huge muff of tipped sable.
The peplum also appears on the lame tunic of a dinner
dress with a slinky black skirt ending in a tiny train. Hip
frills are all right for Miss Darrieux's wispy silhouette,
but remember that peplums add poundage, so if you have
any extra heft of your own don't spotlight it with ruffles.
Draped evening things are definitely in, and a new
twist is evolved for the French star in a white gown.
The bodice is probably more intricate than it looks, but
it seems to consist of two lengths of material, one draped
from right front to left back, the other from left front to
right back, where they join a girdle and the flowing skirt.
The flavor is Grecian, and Miss Darrieux
"ups" her shoulder bob for this one.
Katharine Hepburn goes through "Holiday"
with her accustomed tailored severity, being
very much at home in swagger sjxjrts things.
Her one formal gown accents her slim figure.
It is black sheer, high at the throat, fitted
through the body, and has long tight sleeves.
Its severity is relieved only by a slit in the
back of the bodice and an occasional coy peep
of white ruffled petticoat. Miss Hepburn wears
a chiffon handkerchief clipped to the shoulder.
"Sister" Doris Nolan's wardrobe is gayer.
A backless lame with peplum is held up by the
narrowest of shoulder straps. Her sheer
black dinner dress is topped by a graceful
bertha and a corsage of enormous satin roses.
Like Miss Darrieux in "The Rage of Paris,"
Loretta Young acquires a million dollar ward-
robe— object matrimony — in "Three Blind
Mice." A high off-the-face sombrero, clinging to the siue
of her head, tops a trim short jacket suit. Of a series
of elaborate evening gowns, the one with the "newest"
air shows a decided sarong influence. A splashy South
Seas print, the gown drapes over one shoulder, winds
around the body and ends in a bit of train.
Filmdom's best dressed
^ stars suggest some
wianingf lumbers to
insure fOtir foshion
future
MARIAN
SQUIRE
Binnie Barnes, who seems to be everywliere at once
lately, stops menacing long enough to turn up as a gay gal
with a penchant for beer, in ''Three Blind Mice." Either
Miss Barnes gave up watching the scales when she turned
to comedy, or her clothes are playing practical jokes on
her silhouette. She is more than a bit to the buxom in
a flowered number with halter strap,
and material twisted over the shoul-
ders to form large straps or tiny
sleeves, depending on the point of
view. This is worn under a boxy
white fox jacket.
Girlish simplicity rules for Harriet
Hilliard in "Cocoanut Grove." She
reserves one dress-up frock for the
finish, a dream-girl white net with
spreading skirt and tiny fitted bodice.
Dorothy Lamour, who can lend an
air to smart clothes as well as any of
her screen colleagues, is confined to
Mexican peasant dresses in "Tropic
Holiday." The splashy wardrobe is
reserved for Binnie (that girl is here
again) Barnes.
One of Binnie's best is a wool suit
of loose, smart weave with a short
self-material cape trimmed with
strips of natural wolf suggesting
sleeves. With thio she wears an an-
gora sports hat whose chiffon veil
drapes about the face or falls casually
from one side like a scarf.
In "Always Goodbye," Barbara
Stanwyck suffers through most of the
! picture in the simplest of frocks.
Then she makes a lot of money and
blossoms out, sartorially. But blos-
soms! A street ensemble consists of
a bracelet sleeved redingote over a
ight pleated dress, the bodice draped
and caught with a huge clip. With
this, Barbara wears a high turban with a scarf floating
down the back and crossing the shoulders in front.
Lynn Bari, Miss Stanwyck's screen rival, wears a light
between-season coat with double rows of fur on the
sleeves. Her tiny cap hat has a bunch of quills shooting
up on one side and curving (Continued on pane 70)
HE'S GOOFY amf HE LIKES IT
Diplomat, charlatan, gentleman, rope,
Reginald Owen plays them all. But
what is he really like? Read on
This delightful
Englishrr^an has
an unexpected
slant on life. It's
fresh and amus-
ing, too.
I AM slightly unbalanced," said Reginald Owen pleas-
antly, as he peppered his oysters on the half shell. "I
look at things sort of abnormally, you know. Quite nor-
mal people and things take on, in my mind, a slant, a
perverse twist, a hump, an oblique angle.
"I am not a pathological case. I annoy no one, so far
as I know. I live the most matter-of-fact life. I have
orderly, circumspect habits. I neither collect penguins,
pinch babies nor go in for voodoo. On the contrary, I
eat, swim, play tennis, cricket and golf, like hamburgers,
adore Garbo, go to bed early, rise early, am kind to my
wife, read biographies, think "Hamlet" the greatest play
ever written and "David Copperfield" the greatest picture
ever produced anywhere.
"I own a dog and am kind to him — or her. Which illus-
trates what I mean. I do not know the sex of the dog,
now that you ask me. Which is, I am sure, looking
at things abnormally, here in Hollywood. But it's just
that the sex of the animal isn't important to me. That it's
a dog is all that matters — ^as far as I'm concerned. Holly-
wood doesn't worry me in the least either. I live and
let live and manage very nicely, thank you.
""I have been married twice. My first wife was a well-
known English actress. My second wife, also English, is
a non-professional. We have a cottage at Malibu and
live there all year round. I know everyone in the movie
colony, but am intimate with no one. People seem to like
me. No one trembles at my approach.
"But I do look at things abnormally. The sun, to me,
is not just the sun, blazing away to give me a becoming
tan. It is a copper cauldron {Continued on page 96)
BY FAITH SERVICE
COLLDN T SAY "NO"
Gale Sondergaard tells what every
girl wants to know about acting
OUT OF TEN thousand girls who
dream of a stage career, one actually
becomes an actress. Out of a hun-
dred thousand ambitious girls, one
may penetrate the precincts of the
aloof Theatre Guild, proud standard-
bearer of the New York stage. Out
of a million girls, possibly one may
win an Academy award with her
very first picture.
Yet here is one girl who did all
these things. Her name is Gale
Sondergaard. And how, you ask, did
she ever do it?
She is square- jawed, high cheek-
boned, attractive in a sultry way. Her
predatory mouth surprises you when
it curves into a smile. She has been
acting since she was a high school
sophomore, in innumerable tent shows,
barnstorming troupes, stock com-
panies and road companies. She has
played hags and ingenues, mothers
and daughters, wantons and nuns. In
Jessie Bonstelle's famous Cleveland
stock company, Gale Sondergaard
won a reputation as the girl who
never said "no." She would tackle
any part assigned to her.
"That helped me when I was lucky
enough to connect with the Guild,"
she says, "and it was marvelous
training for pictures, too."
Miss Sondergaard chanced to be
available to a working member of the
press while spending a fortnight in
New York on vacation between pic-
tures. Ever since she snared the
Academy award for her impressive
performance in "Anthony Adverse"
she has been deluged with offers, and
her biggest task has been to select the
best parts in what appear to be the
more promising pictures.
"I haven't been a menace in every
picture," she boasts gaily. " 'Maid
of Salem' offered a psychopathically
jealous wife. 'Seventh Heaven' per-
mitted me to indulge in a whim by
playing a she-devil with a wicked
smile. 'Zola' gave me a really sympa-
thetic part, Madame Dreyfus. Then
my latest, 'Lord Jeff', gave me an-
other soulless role, that of Doris, the
jewel thief."
In the film world the Sondergaard
name is definitely significant. Her pic-
ture career was launched as smoothly
as a new streamlined cruiser. No
waiting around, no gnawing of finger-
nails, no heartbreak. She just walked
in to a director's office, took a test,
and was signed on the spot.
"I was out west simply because
my husband was out west. You know,
he was another Theatre Guild fugi-
tive seeking refuge in the gold fields
of Hollywood. He was to direct a
picture so I went along for the ride.
For six months I forgot the theatre
and just had myself a time golfing,
riding, sleeping late, swimming, lux-
uriating in (Continued on page 106)
47
Exercise regularly if you
want to keep beautiful, say
Virginia Grey and Ann
Rutherford who do their
daily dozen together.
Learn to be your own
fashion expert. Phyllis
Brooks shows excellent
taste in the choice of this
two-piece wool dress.
COOL WEATHER
The ''Grande Toilette" is with us — so here are some timely tips to
IT'S A DARN sight easier to be beautiful in cool
weather than in hot weather. For most girls, that is.
Mebbe I'm some prejudiced, because hot weather has
me falling completely apart — such a struggle does it
seem to look half-way decent, with the make-up
running off my face as fast as I put it on. Come the
first cool days, I snap to and begin to feel like a
human being. Come brisk October, and I begin to
look quite nice, considering everything.
But, after all, who cares about my
ever-present beauty struggles. 'Tis you
this article is for and about. So, if you
have felt rather beaten down and have
said, during the heat of the past season,
'•'A pox upon all this fussing and groom-
ing !" take heart and consider the good-looks question
of fall and winter of this year, nineteen toity-eight.
For, m' dears, kinder though the coolth is to many
of us, there is right now quite a problem before the
women of America where beauty and fashion are
concerned. The men and women who set styles,
trends and changes in high fashion are, and have
been, doing everything in their power to make it a
pretty expensive matter to be lovely, chic and well-
dressed. Well, sure. Fine. That's their business
and that's how they make their hard-earned money.
The "Grande Toilette" is with us. And what is
this here now "Grande Toilette?" It's French for a
get-up so flossy and complicated that nobody could
do such without a lady's maid and a nice, fat bank
account. Elaborate coiflfures; sheer witch-craft
where make-up is concerned; gowns with mile-wide
skirts, stiffened, tucked, flounced. Why,
you couldn't touch the least of them un-
der a hundred and fifty bucks ! Even
day clothes are so shrewd and clever in
cut and detail (the ones sponsored by
these high fashion guys and guy-esses,
I mean) that you and I would simply
have to go around in Mother Hubbards if there were
nothing else to be had on this fair planet.
To some extent, this situation has always cropped
up with the start of the winter season. I mean,
caviar and champagne styles for the rich and lucky,
cheap tawdry copies for the honest working girl.
But the situation is wuss this year than it has
been for many years past and is further complicated
by the great to-do over fixing one's hair and painting
i
BY MARY
MARSHALL
48
Let Danielle Darrieux wrap
herself in ermine — but less ex-
pensive furs can be just as
flattering if you choose them
carefully.
Connie Bennett knows she
looks best in a long bob, so
she doesn't change her hair
style with every passing
fashion whim.
rORECA$¥
make you glamorous
one's face, until, as I have implied,
one would need an Antoine and a
Perc Westmore combined, around
the premises — but constantly.
Ladies, how are we going to meet
this problem? How are we going
to get the most chic and glamor out
of our clothes, our hair-dos and our
pet beauty tricks? How are we
going to adapt high fashion trends
to our pocketbooks and our every-
day needs? How are we going to
avoid the many pitfalls which
shops and advertisements are
going to set in our paths? Or
shall we just say "to heck with
it all," and keep on doing what
we've been doing right along?
Ah, now, maybe we have
something there. Something
— but not everything. You've
got something there when
you pass up the dizzy coif-
(Continued on page 107)
49
You know Bartholomew's
professional 'Iront/' bnt this
is a story of the real Freddie
One ininute a romping
boy, the next a seU-ossuxed
adtdt, Freddie is always
the finished actor— and
British to the core.
ACCORDING TO the birth records, Freddie Bartholo-
mew is fourteen years old. But that doesn't mean a
thing ! Because, despite simple arithmetic, Freddie's age
is a constant question. Minute by minute, hour by hour,
week by week, you're wondering just how old Freddie is
being at the particular moment you're talking with him,
or watching him.
Sometimes he's an adult, acting with the poise, bearing
and calm self-assurance of a man of thirty. He'll talk
about internationalism, his conception of the ideal life,
or the grandeur of the British Empire with the same
mental reactions and vocabulary you'd expect from a
grown person.
The next minute he whoops a war-cry to some kid play-
mate or his stand-in, and they descend forthwith to a
mental age of about four years, doing some inane prank
SO
like pushing arc-light dollies from one end of a movie
stage to the other until director, actors, technicians and
grips all want to slap 'em down!
The only answer seems to be that the brain that func-
tions inside the fourteen-year-old skull of this little
English wizard of the screen is actually a sort of Jekyll-
Hyde affair. And that Freddie, by some trick of psy-
chology, can snap it on and off like you or I would
switch an electric light. One minute he thinks like a
grown-up, the next he sloughs off all that and is a child
again. To see him do it is often amazing.
I remember the time he recited Shakespeare for a
group of grown-ups. Now, you've all heard kids recite.
They get up there and, according to their abilities,- they
rattle off a poerri or a speech or whatever they've mem-
orized— and they're done. Every- ( Cow/mw^d on page 109)
Catching up on her predecessor's correspon- The lady takes to the floor. What's wrong with
dence. A press agent's gotta know things. this picture? It's just out of focus, Carole decides.
Then, of course, there's the filing. And being Here's the fade-out. Fun's fun, but when things
an orderly belle, Carole keeps it up to date. get this busy, it's certainly time to quit!
55
/
MODERN SCREEN
Smart Girls cream EXTRA SKIN-VITAMIN"
INTO THEIR SKIN. . . FOR EXTRA BEAUTY CARE *
...ALL FOR THE
GIRL WHO KEEPS
SKIN THRILLING
I ALIA/AVS CREAM
EXTRA "SKIN-VITAMIN"
INTO MX SKIN By USING
POND'S COLD CREAM...
IT HELPS PROVIDE AGAINST
LOSS OF THIS NECeSSARy
VITAMIN FROM My SKIN
Men fall for soft, smooth skin. When skin lacks Vitamin A,
the vitamin essential to skin health, it gets harsh and dry. Now
Pond's Cold Cream contains this necessary "skin-vitamin."
necessary
• All normal skin contains Vitamin A — the
"skin-vitamin." • In hospitals, scientists
found that this vitamin, applied to the
skin, healed wounds and burns quicker.
• Now this "skin -vitamin" is in every jar
of Pond's Cold Cream! Pond's has nol
been changed in any other way. It's the
same grand cream you have always known.
Use it as always — night and morning and
before make-up. Same jars, same labels,
same prices.
•X- Statements concerning the effects of the
^'skin-vitamin'' applied to the skin are based
upon medical literature and tests on the skin
of animals following an accepted laboratory
method.
Tuna in on "THOSE WE LOVE," Pond's Program,
Mondays, 8t30 P. M., N. Y. TIma, N. B. C.
MARGARET BIDDLS
^Philadelphia Deb
If skin has enough "skin-vitamin," Pond's brings an Extra Sup-
ply SigaXnat possible /litMre need. Smart girls follow this ntnv
jjeauty care to help provide against loss of the "skin-vitamin."
1^-
AND POND'S IS
THE SAME GR^^ND
CREAM. ITS USE
HELPS GIVE SKIN
A SOFT GLOW-
MAKES MAKE-UP
THRILLING/
Copyrk'lU. 19;t8, Pond's Kxtract Company
67
MODERN SCREEN
Schiaparelli tops a sheath of violet
crepe with a naive mauve satin
bolero and yellow kerchief, the
two embroidered in rose, yellow,
green. For the nails, she sug-
gests Cutex HEATHER — says,
"It harmonizes perfectly with all
these colors."
0^
With studied simplicity and
accent on contours, Alix drapes
an afternoon frock of canard-
jreen crepe — the side-fullness
of the skirt flowing from a
narrow bowknot just under
the heart. For a final touch of
feminine subtlety, Alix sug-
jests the mauvy pink of
Cutex LAUREL nails.
Grayish-blue wool crepe is folded
and tucked and pleated by Lelong
into a ravishing evening coat.
Worn over a sheer black jersey
evening dress. With it Lelong
recommends contrasting finger-
nails done in Cutex HEATHER.
The purplish tint of Cutex
HEATHER emphasizes the blue
of the coat.
Singular grace and elegance mark
this Lanvin creation — "Inter-
mezzo"— a charming suit of soft
brown wool with the new short-
clipped box jacket. Applique motif
of cire satin and beaver. To
accentuate its graceful charm,
Lanvin advises finger tips of the
delicate new Cutex LAUREL.
CLTEX
MODERN SCREEN
SPONSOR cuTEX JLomeU, cutex -HsaJttm.
VyOU'LL lead a charmed — and charm-
/ ing — life if you choose Cutex
LAUREL and Cutex HEATHER for your
nails this Fall.
Four famous Paris dressmakers,
Schiaparelli, Alix, Lelong and Lanvin,
say: "It is nothing short of clairvoy-
ance the way these two new nail shades
—Cutex LAUREL and Cutex HEATHER—
tone in with the newest autumn colors."
The new Cutex LAUREL is a chic,
mauvy pink — a delicate complement to
the new, deep purplish tones — mul-
berry, grape, purple blues. Lovely with
6 ENCHANTING NEW CUTEX SHADES
TO CHOOSE FROM
the lighter blues, gray, rose. Very
smart with brown, dark green.
The new Cutex HEATHER is a deep-
er, duskier shade with the same illusive
purple cast. A natural with deep violet,
burgundy, wine. Lovely with blue,
pink, mauve, yellow. A rich contrast
for brown and green.
Magic at Your Finger Tips!
Enhance the natural charm of your
hands in the gay winter days and eve-
nings to come. Follow the advice of
Schiaparelli, Alix, Lelong and Lanvin!
Conjure up romance for yourself, aided
HEATHER: Deep purplish
rose for violet, mauve,
wine, gray, brown, green,
blue, yellow.
LAUREL: A subtle grayed
pink. For blue, brown,
green, beige, gray, rose
or lavender.
CLOVER: Deep, winy red
—goes with everything
except orange tones.
and abetted by the finger-tip sorcery of
Cutex LAUREL and Cutex HEATHER!
NEWEST WEAR SENSATION! Cutex Salon
Type Polish — for those who are "hard
on their nails." Based on a new prin-
ciple. Salon Type Polish is a little
heavier than the regular Cutex Creme
Polish — gives a jewel-like finish. It
takes slightly longer to dry, but
those few extra minutes mean days of
extra wear! In all twelve smart Cutex
shades. .Only 35^ a bottle. Try it!
Northam Warren, New York, Montreal,
London, Paris.
THISTLE: Blended Rust
and Rose. Perfect with
gray, green, rust, brown.
TULIP: A soft, glowing
red. Stunning with black,
gray, blue, bright green,
fuchsia, yellow.
ROBIN RED: True red,
subdued in intensity. It
really goes with every-
thing.
Besides an exciting range of colors to choose from,
Cutex Polishes wear for days without fading, chipping,
peeling. Only 3501 Get a bottle today!
POLISH
Send for complete Home-Manicure Set
Special Value . . . only 25f
containing your choice of Cutex LAUREL or
Cutex HEATHER Salon Type Naii Polish, plus
Cutex Oily Polish Remover, Cutex Oily Cuticle
Remover, Cotton, Orangewood Stick and 4
Emery Boards. Attractively arranged on a hand-
some, compact stand with convenient finger rest.
Ncirlham Warren Cor])oralioii, D.-jU. 8-M-lO,
191 Ihulson St., Mow York
(In Canada, P. O. Box 427, Monlreal)
I enclose 250 to help cover postage antl packing for Cutex
Set, including either Cutex LAUREL or Cutex HEATHER.
(Check shade desired.)
LAUREL □ HEATHER □
Name-
Address.
City
69
MODERN SCREEN
ME OUICK/"
"You win! I can't stay mad
when you bring me Bee-
man's! It's got such flavor —
a dash and tang and irresis-
tible lusciousness that lifts
me right out of the dumps!
They say it's the triple
guard airtight package that
keeps Beeman's so fresh and
full of flavor — all / know is,
it's good!"
Beeman's
AIDS DIGESTION.. •
TOWN AND
COUNTRY
OH, DEAR, I've nothing to
wear!" need never be said by the
girl who knows how to knit.
This year, more than ever,
smart women are wearing knit
dresses and blouses for every oc-
casion. With two or three of
these in your wardrobe, you'll
never be at a loss for the right
costume at the right time.
There's big style news in the
two stunning designs illustrated
here, made from angora and
metallic yarns. And, what's more,
you don't even have to be ter-
ribly clever with your needles
to make either one of them.
The striking one-piece dress
places importance upon its
pockets, outlined in contrasting
angora which finishes in three
small tassels at the top of each
pocket. The flattering high neck-
line opens at back with a slide
fastener, and is trimmed in an-
gora, which also makes the smart
little roll cuffs. All this soft an-
gora trim is done with one ball
of yarn. The stockinette stitch
is all you need know to make this
becoming dress.
The cocktail blouse repeats
last year's success in this year's
lines. Made of crepe and gold
thread, it gives a lame appear-
ance. The gilt zipper is a stun-
ning note. The new cutaway line,
with that beautiful nipped-in
waist, is achieved by simple
knitting and purling, the same
detail being carried out in the
shirred sleeves. Wear this with
a short pleated crepe skirt for
afternoon, with a long one for
evening. Instructions for both
designs are free. Send for them
today and be ready to meet the
new Fall season smartly.
No. 2664 — There's big style news in the
angora trim on this chic one-piece dress.
No. 1356 — Below, the hand-knit cocktail
blouse for formal afternoons or evenings.
ANN WILLS, Modern Screen
149 Madison Avenue, New York, N. Y.
Kindly send, at no cost to me:
Knitting directions for No. 2064
Knitting directions for No. 1356
I enclose a stamped, self-addressed
(large) envelope.
City State
Check one or both designs and please
print name and address plainly.
70
MODERN SCREEN
Lovely Loretta Young
tells other girls a secret that wins..
^^^AINTINESS is most important to
..ZJ charm," says Loretta Young. "Luck-
ily, it isnt a matter of dollars, hut of Lux! ' '
Even before screen success came,
this charming star had dozens of beaux
who thought her handed-down clothes,
fastidiously fresh, looked like a million
dollars. She still looks out for her ward-
robe personally — insists on Lux.
"Thanks to Lux, my personal things
look wonderful," she says.
Luxing dresses, undies, stockings'
keeps them immaculately fresh — lovely
looking longer. Anything safe in water
alone is safe in Lux.
• LORETTA YOUNG in a
charming negligee and
(right) in an evening
dress of white jersey.
Her washable screen
costumes, like her per-
sonal things, are cared
for with gentle Lux.
• 20TH CliNTURY-FOX sUirs Lcjn-Ua in
new screen romance, "Suez."
• BEAUTIFUL STOCKINGS are a mat-
ter of course to Loretta. "It's
easy not to get constant runs,"
she says. "I just trust to Lux
instead of luck." Lux saves
elasliL'ity — cuts down runs.
• LEAi)iN(; iiOi.i.YWOOD STUDIOS specify Lux for all wash-
ables. "It keeps them in perfect condition for the camera,"
says Arthur Levy, wardrobe supervisor at 20ih Century-Fox.
71
THE WOES OF A HOLLYWOOD BACHELOR
( Continued from page 33)
more in the movies. You're going to the
movies with a couple of other people.
"I used to pooh-pooh the idea of love at
first sight. But I'm beginning to hope
there's something to it. Yes sir. When
I meet the right girl, I hope I know it
after one look— before any complications
can set in." ,- ,
For a moment, he gave his undivided at-
tention to a hardy chunk of steak. Then
he said, "I'll tell you another hardship
about being a bachelor. That's to have
most of your friends married. They don t
stop with feeling sorry for you. They
come right out and pity you. You're miss-
ing all the fun of having family responsibil-
ities. You don't have anybody except a
cook who cares whether you come home to
dinner or not. If that place you live in
could be called a home— lacking, as it does,
a woman's touch . . . and so on and on.
YOUR friends try to take you out of
your misery. They arrange for you to
meet 'a girl you really ought to know.'
The girl has been told, very confidentially,
that 'she'll like Jimmy Stewart.' _ Con-
demned to meet, we go through with it,
because we can't get out of it gracefully.
But she's prussic acid to me, and I m
bichloride of mercury to her. And our
helpful friends can't understand it.
"But there's one hardship I haven't suf-
fered yet. I haven't had to go on any
dates inspired by press agents. I've got a
gun all primed, ready for use on the first
press agent who tries to arrange my private
life. A man has to protect his rights "
Jimmy gingerly sampled an unidentifiable
object on his plate that turned out to be
escalloped tomato. Satisfied that the ex-
periment was reasonably successful, he
went on talking.
"Now, three years ago, I might have
appreciated a little fixing. But did any-
body come to my rescue m my hour of
solitude? No. My difficulties as a Holly-
wood bachelor started about as soon as I
landed here.
"Back in New York, I'd never had any
money. Neither had Hank Fonda. So, to
cut down on expenses, we shared a room
about the size of this table. When Hank
got his movie bid and headed West, and
I had to foot the room rent alone. I had
visions of moving into the closet. That
was about my financial speed. Four months
later, I got a movie bid myself. But I
couldn't believe, I didn't dare believe, that
such riches would endure. So, when I got
out here and found Hank living with_ a
couple of other fellows, I moved right in.
They could help me save money, and help
me get acquainted. That's what I thought.
"But it didn't turn out that way. In the
matter of dates, I was politely but firmly
informed, it was every man for himself.
It was hard enough going for the three
of them, without their trying to help out
anybody else.
" 'S funny thing. I can remember when
I was six years old, but I can't remember
my first date in Hollywood. It was with
somebody I'd met at the studio. It had to
be somebody I'd met at the studio ; I didn't
know anybody else. We probably went to
a movie and a place to dance afterward.
And I probably stumbled all over her. I
hadn't done much dancing up to then. And,
hoping to make everything right, I prob-
ably sent her a box of flowers the next
day. And then, the next time I tried to
call her, I probably found that she'd had
her phone number changed, and the phone
company wouldn't give me her new
number. So that very definitely was over.
"You'd be surprised how many times
that happened. And even my best
friends couldn't tell me why. It took me
quite a while to figure it out. You see, _ I
never planned my dates in advance. I still
don't. Some fellows say, 'Well, next Sun-
day night I'll take Annabelle to the Troc,
and a week from Wednesday I'll call
Eloise' — really map out a campaign for
themselves.
"But, somehow, I can't do that. I like a
date to be spontaneous, something to fit the
mood of the moment. How do I know now
how I'll feel next Sunday night, or a week
from Wednesday? No, sir. I'll wait till
Sunday rolls around before I decide
whether I want to go to the Troc that
night, or down to the Fun House at Venice,
or maybe stay home with the dogs.
"It's a good system when it works. You
can have a helluva good time. But it
doesn't always work. That's what makes
life difficult. Maybe by the time you call
Annabelle on Sunday, she'll be all tied up
for Sunday night. Or, if you've just met
Annabelle and she isn't an understanding
type, she may get the idea that she's just
a last-minute thought in your life, that the
date you had for Sunday night has fallen
through and you're scouting around for a
last-minute substitute. That's bad. Yes,"
he repeated, with a melancholy shake of
the head, "that's bad.
"But, speaking of never planning dates,
I'll take part of that back. In New York,
I belonged to the Thursday Night Club.
I founded it, in fact, along with Fonda and
poor Ross Alexander. That was 'way
back in the speakeasy days. W^e met every
Thursday night in the basement of a speak-
easy on 41st Street, across from the Herald-
Tribune, and had to go through a coal shed
to get to it. The proprietor, who thought
the club was a swell idea and sort of gave
his joint distinction, didn't charge us any-
thing, except for the beer he piped down
from the bar.
"Everybody who came had to pay a dol-
lar, which went for steaks and beer and,
if there was anything left over, for more
beer. We cooked the steaks, ourselves.
One look at Phyllis Brooks and
you know why Cory Grant
dates only one girl.
Nobody could get in except by invitation.
And we were mighty particular about our
company. We wanted people who were
good for an all-night party. We'd have
actors who could put on extemporaneous
one-act plays, magicians who could do
tricks, musicians who could really go into
high gear and make people stomp and sing.
Benny Goodman used to come down with
his clarinet. In those days, he was mak-
ing his living playing for recordings of
background music for newsreels. I'd play
the accordion. They couldn't stop me.
That was one of the rules of the Thursday
Night Club — you did what you felt like
doing.
"That's one thing I miss in Hollywood,
a Thursday Night Club. _ A night club
different from all other night clubs. A
place where you could go in your old
clothes, spend a buck, and make your own
good time. You miss a lot, getting your
fun ready-made.
"But that's how you usually get it, as a
bachelor. Now, if I were married — to the
right girl — I'd stand a fifty-fifty chance,
anyway, of going places where I'd like to
go on our evenings out. But I'm not mar-
ried. So, nine times out of ten, I go where
the girl wants to go — and like it. Even
though it may mean climbing back into a
tuxedo after being in one all day on the
set. It's lucky for me I'm such an amiable,
easy-going, un-temperamental fellow. I
don't have to have my own way to enjoy
myself. If the company's congenial, I can
have a good time. Easily-pleased Stewart,
they call me.
WHAT really pleases me is to get in
an evening at the Palomar, the big
dance hall down at Third and Vermont.
You can dance all evening for forty cents —
or a dollar, if you want to sit in the loges
between numbers. You can step out on a
big floor to the music of big-name orches-
tras, and really get some dancing done.
Nobody knows you. Nobody cares who
you are. Everybody concentrates on
dancing. And that's what you can do.
"Another of my ideas of a good time
is to go down to the Fun House and
take in everything the girl will go for,
from roller-coasters on down. The last time
I was there I came home with four cents.
And I can go skating at the Ice Palace,
any time a girl is willing. Or do^ some
. bowling. Anything with a little action to
it. Maybe I don't pick out the most ro-
mantic spots in the world, but after sitting
around a set all day, waiting to work, I
like to be moving when evening comes
along.
"Sure, I'm restless. That's one of the
penalties of being a Hollywood bachelor.
It's a tough town to settle down in. You're
under constant tension, if you're any good
at worrying. And I'm expert at it. So
are the girls I know. They earn their
livings working in front of cameras, too.
"It's a difficult thing, sometimes, to find
a girl who's doing some heavy worrying at
' the same time you are. That's another
of life's little complications. I'll never for-
get the time I suggested a Saturday night
dancing date to a girl who had been at
Palm Springs all week. My feet gave out
after two hours, when she was just getting
into her stride. And the columnists called
it a romance !
"I always had the idea that it would be
better to marry young, and grow up with
my kids. I still haven't changed my mind.
But I'd better get started pretty soon.
Time's a-wasting."
72
N
l|J ..made doubly lovely
by healthful, delicious
lASCUJLIJVE HEARTS
skip a beat, when a lovely woman
flashes an enchanting smile. And,
refreshing Double Mint gum does wonders for
your smile. Enjoy this popular, double-lasting,
delicious tasting gum. This I0AIL,Y chewing
helps beautify by waking up sleepy face muscles,
stimulating beneficial circulation in your gums
and brightening your teeth nature's way. So you
have double loveliness, admired by everyone.
Since smart clothes as well as an attractive
face mean charm. Double Mint gum had Holly-
wood's fashion -creator TRAVIS RANTOIV
design this very flattering, slim hipped looking
Suit Dress for you, which Hollywood's beautiful
star CEAURETTE COERERT models, left.
You can make this becoming dress for yourself
by purchasing SIMPEICITY Pattern 2902.
All women want to dress smartly and know
this helps set off" loveliness of face. Millions ■
agree refreshing, delicious Double Mint gum
helps add extra charm to your smile, making
your face doubly lovely. Try it. Begin to enjoy
Double Mint gum today.
Healthful, delicious
DOUBLE MINT GUM is satisfying.
It aids digestion, relaxes tense nerves,
helps give you a pleasant breath.
Sold everywhere. 5c. Buy today.
73
MODERN SCREEN
POM'T LOOK NOW,
BUT YOU'ME m
touatkiat!
^^^1^ Want to enjoy the
smoothest, tastiest
gum you ever tucked in your
mouth? The clean, fresh, breezy
flavor of real mountain tea?
*Easy! Step up to the counter,
lay down a nickel — and reach for
Clark's Teaberry!
CLARK'S
TIaberry
^illl iiiiHiiiiMiin nir iiiiiiiiiiij miiim iiiliMllMlj riilr riMMiiiiiiiiiiiiiiiiriiiiiiiniiiiHiiMiiiiiiiiiiiiiiiM i ijiiiiiiiiriiiiiilimr
I OUB PUZZLE
80
81
82.
■
91
■
92
96
97
104
108
Puzzle Solution on Page 106
ACROSS
1. First name of our star
8. Last name of our star
1 3. Sat for pictures
18. Tap dancing star
19. Interior
20. INIrs. O'Leary in "In Old Chica.ao"
21. Our star wore this in ''Ramona"
22. Prefix : three
23. Public storehouse
24. Lengths of film
25. Russian actor
27. "Now I'll " starred Spencer
Tracy
29. Warmth
31. Large tub
32. Mexican title
34. Freddie Bartholomew is one
35. Male lead in "The Jury's Secret"
36. Our Gang's dog
37. Linger
39. Resume
41. Eric Bl - - -
43. Co-star in "Vivacious Lady"
45. With our star in "Love L'nder Fire"
46. Aromatic seed
48. Martha Raye's rival
49. " Floneymoon"
51. "Four and a Prayer"
52. Heroine in "Reckless Living"
53. Compass point
54.
56.
57.
58.
60.
63.
66.
67.
69.
71.
79.
80.
83.
85.
87.
91.
92.
93.
95.
96.
98,
101.
103,
104.
105,
106,
108,
109,
110,
I'loreiice mond
"l-o\ e - - News" starred 1 across
Musical note
Indian memorial post
Enemy
English stars' favorite beverage
Popular western star
Opposite our star in "Clive of India"
With our star in "Wife, Doctor and
Nurse"
"Dumb blonde" comedienne
Nickname of Bette Davis' hubby
Constellation
Mischa Auer's birthmonth ; abbr.
Nut
" geant Murphy''
Deanna's real name
Comedienne in "Cocoanut Gro\ e"
French for "very"
Famed for his explanatory shorts
Bobby sports one in "Hawaii Calls"
Talented Irish actress
Comedian with "rubber" legs
On the sheltered side
Flows
Robert ^^'ildhack's specialty
LTsed in slap-stick comedy
Iiliss Munson's first name
Inactive
Dowel
Singer in "Boy of the Streets"
Significance
Mountain ridge
Begin over again
Ffiiiii iiiiiiiii iiiiiiiiiiiMi 11 iiiiiiiiiii mil mill mil iiiimiiiiiiiim nil mimmmiiiiiiiimiii imiiiimmiiimmimiiiiiii
74
MODERN SCREEN
iMiiniiMilihiniir iiiiijiiiiiiiiiiiiiilliljiiMiiiiillilllliiiiMiniiiiiuilMllMiiniiiriiiMrj
P A G E I
DOWN
1. Veteran in "Stolen Heaven"
2. Silent star : Borden
3. Star of "Outside of Paradise"
4. Star of "Blossoms On Broadway" :
init.
5. Explosive : abbr.
6. Infringement on civil rights
7. Elaine Barrymore was once called this
8. Submitted
9. Canadian province : abbr.
10. She's in "Checkers"
11. Noah Beery, Jr., is Wallace Beery's
12. Mitzi
13. Screen role
14. Johnson's comic partner
15. Strainer
15. Striking effect
17. Columbia foreign star
26. Lloyd
28. Malay gibbon
30. Makes amends
33. Star of "The Sheik Steps Out"
35. Oswald is his stooge
36. Spanish coin
38. She was in "Manhattan Merry-Go-
Round"
40. "- - Time to Marry"
42. Sports reelist
43. Our Star's birthmonth : abbr.
44. "- - - Francisco"
46. Peer Gynt's mother
47. "Dead - - -"
48. Orchestra leader in "Happy Landing"
50. Hinder
51. Former cowboy star
55. Birthdate of our Star
59. Juvenile in "Goodbye Broadway"
60. Card game
61. Bigger half of a comedy team
62. Holland commune
63. Our star adopted children
64. Gable's "outstanding" features
65. First sign of the zodiac
66. Myrna Loy's box office rank
68. Actress in "Mad About Music"
70. Returns to films as "Marie Antoinette"
72. - - len Broderick
73. Emote before the cameras
74. Ace film glamor girl
77. Star of "Go Chase Yourself"
78. By birth
80. Patricia's last name
81. She tried "Love on a Budget"
82. Actor in "Bluebeard's Eighth Wife"
84. View I
86. Deep sleep |
88. New singer in "Rosalie" |
89. Nino Martini is one |
90. "Change of " |
92. Princely Italian family |
94. OuV star's first role was in "Naughty |
but " I
97. Bitter vetch |
99. "It Happened Night" |
100. Spoil I
102. Dawn goddess |
107. Initials of Miss Talmadge |
iMiiiiiiiMiiiMiiiiuiiiiiiiMiMiiiiiiiitiniiiiniiiirniiiniiMiiiiiiiiiiiiiiiiiiitiiniiriniiniiiR
ATIRED WOMAN
MAKES A POOR WIFE
How You Can
Home and for
How can you be a comfort to your hus-
band and a help to your children, if
you are tired out all the time? Too many
women work so hard over their homes that
they have no time for play. Then they won-
der why their husbands seem restless, and
their children are a burden instead of a joy.
Here's a suggestion that has been fol-
lowed by millions of women; it makes their
housework much easier, means nourishing,
appetizing meals, and saves a good deal of
money, too. Several times a week, serve
Franco-American Spaghetti.
Franco-American is packed with nourish-
ment, and it tastes so good that the family
Have Time for
Husband, Too!
never seems to get tired of it. For the chil-
dren's lunch give them this savory dish— with
milk and fruit you have a complete meal
that's on the table in a jiffy. For dirinej use -
Franco-American as a side dish, or it is per-
fectly wonderful to make left-overs go further
and taste better.
Franco-American is not like ordinary
ready-cooked spaghetti. Franco- Americaii
is the kind with the extra good s.iuce^it
contains eleven savory ingredients. It usually
costs only 10^ a can, and that's less than i'-
a portion.
Get Franco-American at your grocer's to-
day and get a little time for pleasure!
Franco-^lmeficoiv spaghetti
The kind with the Extra Good Sauce— Made by the Makers of Campbell's Soups
MAY I SEND YOU OUR FREE RECIPE BOOK?
SEND THE COUPON, PLEASE
Campbell Soup Company, Dept. 610 'z^'tWli
I Camden, New Jersey ^l^^i
^ Please send free recipe book : "30 Tempting Spaghetti Meals."
Name (print) .
Address
City-
_Siate
MODERN SCREEN
QUEEN ^ LOVE?
) COURTED AND ADORED— lovers sighed and (
poets sang of the intoxicating perfume that made
her the loveliest of women . . .
EVERY GIRL A QUEEN when she borrows for
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START your day the Djer-Kiss way! Bathe
your entire body with this delightful
talc each morning. Djer-Kiss keeps you
dainty and refreshed all day . . . Helps you
stay cool, for it actually lowers body tem-
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Makes you alluringly fragrant. Use Djer-
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small. Buy it today at drug and toilet goods
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size at all 10c stores.
The same delightful jragrance in Djer-Kiss
Sachet, Eaii de Toilette and Face Powder.
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TALC
KERKOFF ■ PARIS
You ask the questions — we'll answer them
ALICE FA YE: This hun-
dred per cent American
girl was born in New
York City on May 5, 1915.
Her ancestors on both
sides of the family were
colonial settlers, and
fought in both the Revo-
lutionary and Civil Wars.
Those on her father's
side came from France and Germany, and
those on her Mother's side from England
and Ireland. Prom the time Alice was a
tiny tot she has always loved to play make-
believe and wanted to be an actress. She
was prominent in all her school entertain-
ments, and excelled in both sports and
studies. As a child Alice took many prizes
at skating, was very fond of bicycling and
horseback riding, but most of all she en-
joyed swimming and dancing. She's the
kind of girl who likes to do everything her-
self and takes pride in doing everything
well. When she was very young, despite her
interest in the theatre, Alice thought she
might be a school teacher, but a summer va-
cation tryout for a chorus job with the
Ziegfeld Follies definitely set her ambitions
on a dancing career. She passed the test,
and was on the verge of being accepted,
when she confessed that she was only thir-
teen years old ! The instructor compli-
mented her talent but told her to go home
and wait a few years. That was Alice's first
big disappointment. She went home, but
kept on studying her dancing, and just a
year later she tried out for another chorus
job, this time with the Chester Hale troupe.
At the close of a week's rehearsals Alice was
engaged for the season. But there still re-
mained the little matter of breaking the
news to her family, who, up to now, had
known nothing about her theatrical tryouts.
Alice went home and announced that she
"had decided to leave school and continue
her education in the theatre." Her father
and two brothers opposed with considerable
fervor, but her wise mother argued for
Alice. And that's how, at the age of four-
teen, Alice Faye went on the stage. After
touring with the Chester Hale Unit Alice
got a spot in George White's "Scandals" on
Broadway. Then one night a friend of hers
took a home-made record of Alice's singing
to Rudy Vallee, and that young orchestra
leader liked it so much that he gave Alice
an opportunity to sing with his Connecticut
Yankees.
When Vallee took his troupe to Hollywood
to appear in the picture version of the
"Scandals" Alice went along. And when
Lilian Harvey, European star, refused to act
in that picture, because her part was too
small, Alice Faye took a screen test and was
given the Harvey role. After one week of
shooting she was signed to a term contract.
Alice loves pets, especially dogs. In fact,
she gets a great "kick" out of life. There
is always an atmosphere of gaiety about
her and her enthusiasm and ability to en-
joy herself are well known.
Alice's real name is Leppert, although
three years ago she had it legally changed
to Faye, and, to save confusion, the entire
family now uses the name of Faye. Alice is
five feet, five inches tall, weighs one hundred
twelve pounds, has amber colored hair and
deep blue eyes. She likes new books, shows
and symphony concerts. She doesn't care
much for jewelry but loves fiowers, espe-
cially gardenias. She collects phonograph
records and adores perfume. Her pet aver-
sion is dishonesty. She is a wonderful
mimic, and although she does not read
music she interprets it with fine intelligence.
Such song writers as Irving' Berlin, Cole
Porter and the late George Gershwin have
said that they would rather have Alice Faye
introduce their songs than any other girl
before the public today. Money does not
mean a lot to Alice, but she is an indefatig-
able worker, and would rather be praised
by an expert than anything else in the
world. She is happily married to orchestra
leader Tony Martin. Alice Faye's last two
pictures were "In Old Chicago" and "Alex-
ander's Ragtime Band." Her next one will
be "By the Dawn's Early Light." Y'ou may
address her in care of 20th Century-Fox,
Hollywood, California.
HUNDREDS OF ADDRESSES
FOR A STAMPED ENVELOPE!
Want to know your favorite player's
address? In fact, would you like to
have a complete list of all the Holly-
wood stars' mailing addresses? It's yours
for the asking. So many of you have
written to this department wanting +o
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan leUer,
that we've compiled a complete list for
you, naming the players alphabetically,
according to their studio, and giving
their complete mailing addresses. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want it.
To receive one of these lists, all you
have to do it write to us and ?isk for
it, enclosing a large self-addressed and
stamped envelope. Don't forget that
last item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
76
MODERN SCREEN
THE "DEAD END" KIDS:
These six boys, trans-
planted to Hollywood af-
ter their success in New
York's stage hit, "Dead
End," keep all Hollywood
busy with their pranks,
and most fans busy tell-
ing which one is which.
Billy Halop, whose pic-
ture appears here, is perhaps the best known
so we'll start with him. Billy, a big dark
haired youngster, was born February 11,
1920, the son of a well-to-do Long Island
lawyer. He started acting at four, and was
well known in radio before joining the
"Dead End" cast. He was educated at the
New York Professional Children's School,
the MacBurney School, and on the set in
Hollywood. dfC-screen Billy can be very
gentiemanly. He is enthusiastic, and abso-
lutely sure of himself. He's a fine cook,
collects stamps, and wants to play more
refined roles. Some day he'd like to be a
director.
Huntz Hall's first name is really Henry
but somebody nick-named him Huntz and
it stuck. He is tall, blonde, and eighteen,
and has a very crooked nose. He was one
of sixteen children whose father was in the
air-conditioning business. He is puckish
and intelligent, and occasionally well-man-
nered. He was "Dippy" in the original
"Dead End" cast. As a youngster Huntz
used to sell peanuts and pop-corn at Madi-
son Square Garden in New York. He once
wanted to be a civil engineer but would
rather be a producer now. He sings quite
well, plays basketball, and boasts that he
has read through "Gone With the Wind."
His best pal is Gabriel Dell.
Gabriel Dell is perhaps the one most of
all the boys who promises to become an in-
tellectual. He was born in Brooklyn, N. Y.,
October 4, 1919, the son of a well-known
physician. Dr. Del Vacchio. Gabriel Dell is
the boy's stage name. Gabriel also attended
the Professional Children's School. He
reads a good deal, knows what's going on in
the world, and is a good conversationalist,
although, around the other boys, he is some-
thing of a cut-up. He also plays a good
game of baseball. Gabriel once wanted to be
a doctor but now is torn between a desire to
act and a yen to write.
Bernard Punsley is the serious member
of this troupe. He wants to be a doctor and
is saving his money to that end. He was
born in New York, July 11, 192,3. His father
was in the clothing business but one cousin
Is a director and another is an actors' agent.
Bernard goes in for model engineering and
bacteriology. He likes swimming, books,
and motion pictures, and is also interested
in chicken farming.
Bobb.y Jordan was born fifteen years ago
in New York, the son of a merchant. Be-
cause of an angelic look about his face he
was given the part of "Angel" in "Dead
End." Bobby has a great deal of that qual-
ity known as charm, though when he is
with the other boys he rough-houses all over
the place. He has always wanted to be an
actor. He thinks his best role was that of
Douglas Fairbanks Rosenbloom in "A
Slight Case of Murder".
Jjeo (iorcey is the lone wolf of the "Crime
School" pack. He is the eldest and smallest
of the "Dead End" kids. He was born June
3, 1916. Leo is just five feet six inches tall,
and very slim. Often he passes for the
youngest in the group. Both Leo's father
and mother were on the stage, and so also
is his brother. Leo was going to be a
INFORMATION DESK, MODERN SCREEN.
149 Madison Ave, New York, N. Y.
Please print, in this department, a brief life
story of:
Name
Street
City State
If you would like our chart listing the
heights, ages, birthplaces and marriages of
all the important stars, enclose five cents in
stamps or coin with your coupon.
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so I'M BATHING
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77
MODERN SCREEN
plumber when the stage caught up with him
and changed his mind. In one year he has
now made six movies. "Angels with Dirty
Fafps" Avill be his seventh. When Leo isn't
getting arrested for speeding he is at home
liuocl^ing off short stories and poems. He
hopes to be a writer, though he isn't inter-
ested in reading. Leo lilces speed, cats,
stamps and fishing. He is also a line bowler.
He saves half his salary and supports his
mother and sister. Any of these boys may
be addressed in care of Warner Brothers'
Studio, Burbank, California.
JEAXETTE MacDON-
A1.D: This talented girl
comes from a family of . 'JUtt/tf^k^
musically gifted child- «^TmHh
ren. She was born in WjSh «?HB
Philadelphia June 18, '"Wk
inOT. For as long as she \3£ •
can remember Jeanette .^rf-^^A '
always intended to be a .^^^Mi-jsafc. J
dancer or musician. She
attended the public schools of Philadelphia
and Al White's dancing school. One sum-
mer, when she was fourteen, Jeanette went
to New York with her father who was a
contracting builder and somewhat of a
politician. Jeanette's sister at the time
was dancing on the New York stage, and
introduced her to Ned Wayburn who per-
suaded her father to let Jeanette dance for
two weeks in his current Revue. Jeanette
stayed in the Kevue for several years, and
her family moved to New York to make a
home for her. She continued to study danc-
ing, and also took voice lessons regularly.
She posed for commercial photographs and
modeled furs when there were no stage en-
gagements. Then she started in mlnOr roles
in musical shows and worked up to the
rank of co-star. In 1929 she said goodbye
to the New York stage and went to Holly-
wood with a two-year contract. Her first
picture role was opposite Maurice Chevalier
in "The Love Parade." After making a
number of pictures, among them "The
Vagabond King," "Monte Carlo," "Anna-
belle's Affairs," "One Hour with You," and
"Love Me Tonight," Jeanette went on a long
concert tour through Europe, singing in all
the European capitals. She returned to
Hollywood to play in "The Cat and the Fid-
dle," and "Merry Widow." There followed
"Naughty Marietta," "Rose Marie," "San
Francisco," "Maytime," "The Firefly," and
her most recent, "Girl of the Golden West,"
Now .leanette hopes to divide her time be-
tween pictures and concert stage, spending
part of her days traveling and the rest in
Hollywood. She likes to meet new people
and see new places. Jeanette is fond of
swimming, dancing, riding and the theatre.
She studies music and languages with un-
remitting regularity, and plays the piano
for her own pleasure. She reads mystery
novels, and owns quite a collection of them.
She also collects little orchestras of figur-
ines, and tiny figures playing musical in-
struments.
In June 1937 Jeanette was married to
Gene Raymond, also of the films. She is
five feet, five inches tall, weighs one hun-
dred and twenty pounds, has red-gold hair
and green eyes. Her real name is Jeanette
MacDonald. Her next picture will be
"Sweethearts." Y'ou may address her in care
of M-G-M Studios, Hollywood, Califojnia.
Col. Harry Marcus, Seagate, N. Y. Yours is
one of scores of inquiries we've received re-
garding the career of Rudolph Valentino, so
here are the statistics : He was born in Cas-
tellaneta, Italy, on May 6, 1895, of a French
mother and Italian father, a cavalry cap-
tain. His full name was Rodolpho Alfonzo
Raffaelo Pierre Filibert Guglielmi di Val-
entina d'Angonguolla. After military and
agricultural school in Italy, Rudolph came
to New York in 1913. He did odd Jobs in-
cluding landscape gardening until his grace-
ful dancing won him a vaudeville engage-
ment. Musical comedy followed, and then
pictures. His first important movie was
"The Four Horsemen of the Apocalypse."
"The Sheik," "Camille," "Blood and Sand,"
"Monsieur Beaucaire," "Cobra," "The
Eagle," and "The Son of the Sheik" were a
few of his best known pictures, the latter
being his last. He died suddenly in the sum-
mer of 1926 following an emergency opera-
tion in New York City. He was thirty-one
years of age. You may secure pictures of
Valentino at fifteen cents a piece from the
Artclnema Associates, 729 Seventh Avenue.
New Y'ork City. Or for twenty-five cents
they will send you a profusely illustrated
booklet containing the life story of this
star of the silent era.
Jackie Nakagawa, Turlock, Calif. Address
Sonja Henie, Tyrone Power, Loretta
Y'oung, and Robert Kent at the 20th Cen-
tury-Pox Studio, Hollywood. Janet Gay-
nor can be reached at Selznick-Interna-
tional, Elaine and John Barrymore at
Paramount, and James Stewart at Metro-
Goldwyn-Mayer, all in Hollywood, Cal.
Vivian ferryman, Sacramento, Cal, Gene Au-
try's last two pictures were "Gold Mine in
the Sky," and "Man from Music Mountain."
His next will be "Pony Boy." Write him in
care of Republic Studios. Hollywood. Cal.
Always enclose twenty-five cents when re-
questing pictures of stars.
Sanford Strickland, Perry, Fla. The ten best
pictures of 1937 as selected by 531 of the na-
tion's picture critics were : "The Life of
Emile Zola," "The Good Earth," "Captains
Courageous," "Lost Horizon," "A Star Is
Born." "Romeo and Juliet," "Stage Door,"
"Dead End," "Winterset," and "The Awful
Truth."
Doris Lanzlnger, Toledo. Ohio. Danielle Dar-
rieux was born in Bordeaux, France, May 1,
1917. Her father is French, her Mother Al-
gerian. You can reach her in care of Uni-
versal Studios, Hollywood, Cal. Her next
picture will be "Rio."
Jane Franklin, New Preston. Conn. Richard
Greene was born in Plymouth, Devonshire,
England. He is six feet tall, weighs one
hundred seventy pounds, has dark brown
hair and blue-grey eyes. You may address
him in care of 20th Century-Fox Studios,
Hollywood. His next picture will be
"Wooden Anchors" with Nancy Kelly.
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78
t
1
s
t'
a.
c
L
c
1
Bob
wyci
r
t
ip
11
r
s
iitiiiMif ilirtfi'WiWBi 'i l ' iiiiilTili'
MODERN SCREEN
a race horse.) But why can't he face him-
self, face his work, face his past and have
society too? If he did he would be a hap-
pier and saner person.
No matter how much money he earns
and how many clubs of The Racquet cali-
ber accept him, he is not (thank goodness)
a banker. And no matter how he looks at
it (and it is the very result of all that hard
work which he won't admit, and of the
boyhood to which he won't refer) Fred As-
taire is, for all that, the best white man
dancer in America today. That should be
ample satisfaction for anyone.
SHE WANTS TO STAY
MARRIED
(Continued from page 35)
a longed-for toy," he observed, "laughing
one moment, crying the next, as she slipped
it on her finger."
And a month or so later, Randolph
Churchill, son of the British Chancellor of
the Exchequer, who had been visiting the
couple, was quoted as saying, "I am not at
liberty to quote Mr. Chaplin directly, but
I can definitely say they are married."
Then Gregory Bautzer and Bentley Ryan,
her attorneys, said they were certain she
was married. And her business manager,
Arthur Taylor, who handles all her busi-
ness problems and takes care of Paulette's
investments said there was no doubt of her
marital status.
BUT some time last spring, differences,
which were kept as secret as their
marriage, separated the couple. Charlie
went to Pebble Beach to remain there sev-
eral months in seclusion, while Paulette,
after re-decorating the house to her own
taste, went in search of a job — in the
movies. Always, until that time, she had
planned to make another picture with the
comedian. But, as all the world knows, it
is a long time between pictures for Holly-
wood's most famous star, and it was a long
wait for ambitious Paulette. Too long, she
evidently decided, for she accepted the role
of Leslie, Janet Gaynor's younger sister in
"The Young in Heart."
Whether or not her acceptance of this
part served to further estrange the couple
is still a matter of conjecture. Certain
it was that about this time divorce rumors
began to fly, followed by whispers that she
had been ordered to liquidate her personal
possessions in order that they would be in
negotiable state to put on the community
property block.
Paulette, herself, spiked the first of these
stories by saying that _ she would not file
suit. "If Charlie wants a divorce let him
get it," she told her attorneys. "But I am
too grateful to him for everything and love
him too much to cause him a moment's
anguish. Besides, I am satisfied with my
present status."
Then Chaplin's friend and attorney for
twenty-five years, Lloyd Wright, laid the
second in ashes by labelling the rumor
"preposterous." "I don't know Mr. Chap-
lin's plans for divorce," he stated coldly,
"but I am certain he would never ask his
wife to sell her jewels and furs in order
to make a community property settlement."
This chatter had started following the
admission that she had put up the boat,
"Panacea," for sale, although she is re-
putedly worth a quarter of a million dol-
lars in her own right and Chaplin's wealth
is estimated at more than ten millions.
Who's right? The gossipers? Probably
not, for they seldom are. What's ahead
for this couple? Reconciliation or divorce?
Ecstatic wiggling of fingers and toes
marks the arrival of Frances' sup-
per, which now includes Clapp's
Baby Cereal. Like many of her
young neighbors in Westfield, N. J.,
Frances is having pictures taken and
growth records kept, as part of a
study in infant feeding. Her meals
will soon be further enlivened by
Clapp's Strained Vegetables.
And she's gained an average of more
than 1 Vi pounds a month. She gets
Clapp's Soups and Fruits now— loves
'em like all her Clapp Foods. Their
texture is exactly what baby special-
ists recommend— finely-strained, but
not too liquid. On Clapp's Foods, a
baby makes real progress toward the
handling of a more solid diet.
Curly Hair, more teeth and added
weight aren't the only things she has
to brag about. She can walk, and
she can feed herself (a trick that
Clapp-fed babies, with their eager
appetites, often acquire early). And
just one look at Frances tells you
that her pressure-cooked Clapp's
Foods have been chock-full of vita-
mins and minerals!
16 VARIETIES of Clapp's Strained Baby
Foods — Baby Soup Strained or Un-
strained,Vegetable Soup, Beef Broth, Liv-
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Tomatoes, Asparagus, Peas, Spinach, Car-
rots, Beets, Green Beans; Baby Cereal.
FREE BOOKLET! Photographs and records of
12 Clapp-fed habics — and valuable feeding in-
formation. Write to Harold H. Clapp, Inc., t^ept.
QSO,777 Mount Read Blvd., Rochester, N. Y.
NEW I... for young children
Clapp's Chopped Foods
Doctors asked for them . . . even-textnrcd foods
wirli all the advanta^csof Clapp's Strained Foods,
but more coarsely divided. At dealers' now — re-
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Strained Foods.
81
MOVIE REVIEWS
(Continued from page 13)
Algiers
Based on a foreign film hit ("Pepe Le
Aloko") "Algiers" is a cops-and-robber
story in a new background. The plot is
a thin fabrication about a section in Algiers
known as The Caspah, hideout for crimi-
nals of all nations, and the more or less
placid existence there belies the alleged
viciousness of its inhabitants. The excellent
camera work, however, manages to keep
the story moving and actually makes it
seem more exciting than it really is.
Charles Boyer is Pepe Le Moko, a
French jewel thief, regarded as the most
dangerous man in the Caspah. The police
are unable to catch him because Pepe has
his gang and his girl ( Sigrid Gurie) and
lie"s quite content not to emerge. One day,
liowever, a beautiful Parisienne (Hedy
Lamarr) comes to the Caspah on a slum-
ming trip and Pepe falls in love with her.
You know what happens. The police trick
him with a message from her, he comes to
town and walks into their trap.
Boyer plays Pepe in his usual sulky,
dark-eyed manner. Hedy Lamarr _ causes
a minor sensation and Sigrid Gurie does
not fare quite so well. In the supporting
cast, Gene Lockhart almost walks away
with the picture with a well-defined and
expert portrayal of an informer. Directed
by John Cromwell.— rFo//cr Wanger.
*^ Little Miss Broadway
Little Miss Temple, queen of 20th Cen-
tury-Fox and America's answer to Eng-
land's Princess Margaret, comes to her
public once more in another of those sugary
sweet offerings which send her admirers
home happy and contented. Despite her
advancing years, Shirley still manages to
captivate the entire cast.
This time she is an orphan (what,
again?) who is adopted by the kindly pro-
prietor of a Broadway theatrical hotel. Her
surroundings, of course, give Shirley ample
reason to demonstrate her talent as a sing-
ing and dancing star. In the latter de-
partment she excels, and is fortunate in
having George Murphy as her partner in
two or three really entertaining routines.
Her songs still run to the saccharine. How-
ever, Shirley's personality and general ex-
cellence will make audiences forget such
relatively minor complaints. Suffice it to
say that under Shirley's guidance the old
proprietor pays off the mortgage, and the
mean old rich lady next door winds up
sweeter than Snow White.
It is, of course, Shirley's picture through-
out, but credit must go to George Murphy,
Timmy Durante, Edna Mae Oliver, Ed-
ward Ellis, Donald Meek and others_ for
keeping the thing amusing when Shirley
has her stage waits. Directed by Irving
Cummings. — 20th Century-Fox.
**Love Finds Andy Hardy
When it's love in bloom for And\-
Hardy there isn't a man, woman or child
in these United States who couldn't get a
chuckle out of it. This time he's torn
between three charmers — Ann Rutherford,
the old girl ; Lana Turner, the town
siren ; and Judy Garland, an out-of-town
visitor. Trying to purchase a twenty-
dollar jallope on the installment plan
doesn't add anything to his peace of mind
either, particularly since father Lewis
Stone, though pretty understanding about
most things, is rabid on installment plans.
Andy's plight is real and heart-rending as
he becomes more deeply involved with
every move. This role will add even more
prestige to Mickey Rooney's record, while
the picture is bound to make the Hardys,
en fainille, more popular than ever. It's
their best story to date. Andy isn't the
only Hardy with problems. Mother Fay
Holden is called away from home, and
daughter Cecilia Parker is left holding the
reins. Between cooking, an absolute mys-
tery to her, and kid brother Andy, a con-
stant nuisance to her, Cecilia has her
hands full. To make matters worse, it's
the Christmas season, and things look
pretty glum around the Hardy household
for a time, though everything turns out
for the best, of course. Judy Garland al-
most steals the honors from Mickey with
her excellent characterization of the sym-
pathetic girl friend. You won't want to
miss this Hardv familv picture. Directed
by George P. Seitz.— .l/-G-il/.
-yk'^^The Texans
A glorified Western, this picture is full
of strong men, strong language and daring
adventures. The story centers about the
trials and tribulations which befall a
courageous group who attempts to drive a
herd of 10,000 head of cattle from Texas
to Kansas in the perilous days following
the Civil War. The herds belong to Ivy
Preston (Joan Bennett) and her grand-
mother (May Robson). They are the vic-
tims of an exorbitant tax levied on their
cattle by the government and, in order to
save their property, they resort to the 1,500
mile trip. With them go their trusty
friends, the old cowhands on the Preston
ranch, and Kirk Jordan (Randolph Scott)
whom Gramma regards as a tried and true
friend but who's just a pain in the neck to
granddaughter Ivy. Romance, of course,
blooms along the trail for the two, though
the atmosphere is hardly conducive to senti-
ment. Isaiah Middlebrook (Robert Bar-
rat) and his troupe of Yankee cavalry fol-
low close at heel, determined to get the
herds back in their hands. Indians de-
scend upon them. They are the victims
of blizzards, dust storms, droughts, and
In "Algiers," Charles Boyer
surprises his admirers with
a very good singing voice.
Nice work, Charles.
thunder-storms along the trail. In short,
it's durned tough goin'. But you who like
films where men are men and women full
of courage will like "The Texans." The
pictorial effects in many instances are
breath-taking. Joan Bennett and Ran-
dolph Scott turn in satisfactory perform-
ances, but the honors go outright to May
Robson for her characterization of the
Southern lady who is all gentleness and
charm in appearance but turns out to be
the fiercest fighter of them all. Directed
by James Hogan. — Paramount.
Passport Husband
Stuart Erwin, true to form, is in for
another terrific beating. This time two
gangs of desperate characters are vying
for the privilege of murdering him. It all
started, of course, because of Stu's good
heartedness, which has got him married
to a glamorous creature, Joan Woodbury.
When Joan allows as how she'll die_ if
Stu doesn't wed her, he doesn't know it s
deportation and not death that's facing her.
Nor does he realize that Joan isn't exactly
the home type, but a moll at heart. Com-
plicating matters even more is Douglas
Fowley, a gentleman of unsavory reputa-
tion who would have Joan for his own, and
Pauline Moore, an awfully nice girl who
feels just that way about Stu.
It's all pretty innocuous stuff as far as
the plot goes, but the laughs are good and
plentiful. And the cast, though far_ from
illustrious, do an excellent job within the
script limitations. The climax is one of
the rowdiest, lustiest and funniest ever,
with Stu Erwin capturing both gangs of
criminals single handed by the simple ex-
pedient of pushing them out of a supposedly
burning building into the waiting firemen's
net below.
You will find real entertainment ii
"Passport Husband," in which Stuart
Erwin is at his best. Directed by James
Tinling. — 20th Century-Fox.
Tlk"Ar Tropic Holiday
Paramount has taken Bob Burns, Alartha
Raye, Dorothy Lamour and a number of
their friends down to Mexico for a musical
show which has its moments. Said mo-
ments are confined, properly enough, most-
ly to the musical numbers, beautiful Mexi-
can songs by Augustin Lara, the country's
foremost ballad writer. In addition there
are comedy moments, the best being a
bull fight sequence featuring a ferocious
bull and a very frightened Martha Raye.
Story has to do with a Hollywood
scenario writer on a Mexican hegira trying
to find peace and time in which to finisli a
script. He runs into everything, including
romance with Dorothy Lamour, who is
probably as surprised as anybody to show
up in a picture without a sarong.
Martha Raye and Bob Burns furnish
most of the comedy, agreeably aided by
Roberto Soto, Mexico's Charlie Chaplin.
Tito Guizar is handsome and pleasant to
hear as he sings several Mexican love
songs, and Miss Lamour tosses off a song
or two of her own with good effect. Binnie
Barnes is excellent as a Hollywood beauty
jealous of Milland's romance with Miss
Lamour, and there is nice work ^ by a
group of natives. "Tropic Holiday" is no
great shakes, but it is entertaining and
lietter than most run-of-the-mill song and
dance films. Good for a frivolous mood.
— Directed by Ted Reed. — Paramount.
82
MODERN SCREEN
MYRNA'S MAID TELLS ON MISS LOY
{Continued from page 30)
she was going out and she asked me to put
some poHsh on her nails. "I never did," I
said, "but I can try." It was ruby polish,
and that's the worst kind, even if you're
an expert manicurist. Well, what with my
being so rattled, and my hands shaking like
I had the palsy, I got more polish over her
fingers than I did on her nails. I sat there
so miserable I didn't know where to look,
and she kept saying, "That's fine, Theresa.
Just clean up this bit. Now that little dab
in there — "
Well, I knew I'd made a hash of it and
that she was just being nice. I started
putting things away, thinking, "You cer-
tainly cooked your goose to a crisp that
time, my girl." Miss Loy was at the door.
Then suddenly she turned around.
"Theresa," she said, "I like you very much
and I'm very well pleased with your work.
Would you like to stay?" Well! I just
stood there with my jaws dropped and
couldn't think of a thing to say. Imagine
her doing it right then, just because she
saw how badly I felt. She smiled and said,
"Then that's settled. Good night, Theresa."
And when she was gone, I did a little
rhumba all by myself, right in the middle of
the bedroom floor.
In all the time I've been with her, I've
never seen Miss Loy angry except once in
a great while, and that's when somebody
tried to put something over on her. You
have to know her very well to know when
she's angry. She doesn't go popping off
like a string of firecrackers. She just
seems to get more quiet. Then, if she can.
she goes and has it out with whoever's up-
set her, and that's the end of it.
Miss Loy loves to have jolly people
around her. She gets bored with a lot of
society talk — I mean the stiff kind. We
have more fun on location. She likes to
have pillow fights with the girls — there's
Shirley, her stand-in, and Eleanor, who
does her hair, and Margaret from the
wardrobe department. They borrow her
shirts and sweaters and shower-caps and
go running back and forth, just like girls
in a boarding school.
THEN I'll go in to wake her in the
morning, and I'll grab a shawl from
the piano and twist it round my shoulders,
and stick a rose in my mouth. (Mr. Horn-
blow always sends her roses.) I clown
around, pretending I'm a Spanish dancer or
something crazy, till she laughs herself
sick. There was one time, though, when she
had us in hysterics. She was trying to peck.
Miss Loy's no fancy pecker, but she looked
so cute and funny with her head jerking up
and down like a baby doll, that we laughed
till our sides ached. But she kept right on,
solemn as a judge. "I'm dishing it out,"
she said, "and you can take it."
Miss Loy loves to tease. She found out
I was crazy about William Powell. Maybe
it's kind of silly, but I guess we all have
our favorite movie actors. Anyway, the
first day she worked with him, I was all
eyes and mouth. She was sitting there
talking to him, when all of a sudden she
called me over and introduced me. I almost
fainted. But as if that wasn't enough, she
got that little twinkle in her eye, and 1
knew she was up to something. "Bill,"
she said, "you're Theresa's favorite movie
actor." Well, I wanted to crawl into a
hole and hide. She saw I was fussed, so
she patted my hand and said, "Sorry,
Theresa. I didn't mean to embarrass you."
Well, I mumbled something about not
wanting Mr. Powell to think I was fresh.
"Theresa," he said, "no actor thinks you're
fresh when you pay him a compliment. He
thinks you're smart." Wasn't that cute of
him? He's like that.
When my baby was born and I named
him Willard, Miss Loy wanted to know
was it after Mr. Powell. I said, in a way
it was and in a way it wasn't. So now,
when she wants to tease me, she calls the
baby Inaway. At first she couldn't come
to the hospital, because she was working,
but she sent ice cream and a beautiful cake.
Then, as soon as she had a day off, she
called up and said she was coming over.
Well, the sweetest thing happened. ^ The
baby was half asleep. Miss Loy picked
him up and he opened his eyes and just
lay there looking at her for a minute. Then
she held out her finger and he grabbed it
tight, and next minute he was smiling up
at her. I was so pleased, because it was the
first time he'd ever smiled at anyone.
She's just crazy about children. She'll
come home all excited. "Oh, Theresa, I
saw the cutest baby today. He was just
as homely as he could be, but oh, so sweet."
She has a way with them too. If they're
7
USE ACTING CAUS fOR
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MODERN SCREEN
kind of hard to make up with, she doesn't
rush them. She waits until they make up
with her, and they always do.
There's little Junior who comes to the
studio to sell papers and magazines. She
just loves that kid. Last Christmas she
had everybody hunting a dog for Junior.
Then she heard that somebody else had
bought him one. She was dreadfully dis-
appointed at first. Then she said, "No
matter, so long as he gets a dog," and she
bought him a leather jacket instead.
Then there was the time when one of the
directors thought maybe he could use
Junior in a picture. Miss Loy was testing
for a picture at the same time. Every day,
regular as clockwork, Junior'd ask, "Dja
get the pitcha. Miss Loy?" That's just how
he'd say it. And she'd say, "Not yet. Did
you?" "Not yet," he'd say. And she'd say,
"Got my fingers crossed." And he'd cross
his fingers too and wave them at her.
Then finally one day he said, the same as
always, "Dja get the pitcha, Miss Loy?"
And she said, "Yes, did you?" "Nope,"
Junior said. Then he took one look at her
face and said, "Gee, Miss Loy, you don't
have to feel bad about it. Fd rather sell
papers any day."
So you can imagine how she felt when
there was talk about not letting Junior sell
his papers any more at the studio. She
went straight to the front office and got
that fixed up. We were sitting here in the
dressing-room one afternoon when Junior
came in. Generally, nothing fazes him, but
he was plenty bothered that day. He
wiggled and kept shoving his feet around,
and at last he came out with it. "Miss Loy,
my mother said to give you something."
He ran up and grabbed her and gave her
the biggest kiss, then he ran out as if the
cops were after him. Next minute he
poked his head in at the door again. "No
snitching now," he says. And she holds up
her hand and says, serious as anything,
"No snitching, Junior." But her eyes were
just shining.
Miss Loy is forever talking about her
grandchildren— kidding, you know. When
she got that crown for being Queen of the
Movies, she put it in a little nook in the
library. "That's to show my grandchildren,
when Fm old," she said.
SHE'S the happiest person for all she's so
quiet. It's just grand to see two people
as happy as she and Mr. Hornblow. I
never shall forget the day they were mar-
ried. She didn't say much, but goodness!
You could see it written all over her. I
helped her pack — or rather, I packed for
her. She didn't know what to take. It was
the only time I ever saw her fluttery. We
told her she had to have something old,
something new, something borrowed and
something blue. Well, of course, there were
lots of new things, so she wore a pair of
old hose. Then she borrowed a handker-
chief, and Miss Bond, her secretary, went
out and bought her a pair of blue garters.
Her dress was a beige handprint, all over
colors, and she wore a brown crepe de
chine hat, with brown patent shoes and bag_.
All of us were standing at the door, Sergei
the cook, the butler, the chauffeur and I.
I said, "I hope you'll be as happy as a
queen, Mrs. Hornblow," and she smiled
the sweetest smile, and bent over and kissed
me. I was so thrilled.
Sergei baked a beautiful wedding cake
and sent it down to surprise her at Palos
Verde where they spent their honeymoon.
She still has a piece of that cake and the
little bride and groom Sergei put on top
of it.
Then when the house was built, my, she
was like a kid. It's not a fancy house —
they don't like a lot of frills and feathers-
just a beautiful home. And she'd rather
fuss around that house and garden than —
go to see the President, I guess.
Every morning, even when she's working,
she plans the menu for dinner. She loves
to cut recipes out of magazines and then
do something different with them. For
instance, the recipe might call for a certain
kind of wine. Well, she'll talk it over with
the cook and say, "Maybe that wine won't
he so good. Let's try this kind and see
what happens." Then she has a little book
where she puts all the recipes that turn out
good. And if Mr. Hornblow specially en-
thuses about anything, she puts a star next
to it, to remember.
Between pictures and on days she's not
working she has breakfast about ten. Then
she puts on a blouse and slacks, and maybe
ties a scarf round her head, and out she
goes with her spade and basket till we call
her for lunch. Sometimes we have to call
her several times.
She doesn't just pick flowers, either. She
gets out there and digs. She's not even
afraid of slugs and lizards and things. She
laughs at me because I'm petrified of
anything that crawls. "Go 'way," she'll
tell the lizard. "Theresa's afraid of you.
Go on home to your babies." Then ^yhen
she comes in, Johnny's generally trailing
her. Johnny's the neighbor's little dog. "He
needs a bone," she'll say. "He's been help-
ing all morning and he's tuckered out."
Sometimes Mr. Hornblow runs home and
has lunch with her. Then in the after-
noon we might clean cupboards or
straighten out the basement. And she
doesn't watch while I do it. Don't you
believe it. She gets down in that basement
and helps me push things around. Or, if
we are doing the cupboards, she'll wash
down one side while I take the other. Then
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while I wash the dishes she'll dry and put
them away. She likes putting them away,
because it gives her a chance to arrange
them differently.
Oh, and she's the cutest thing with her
clothes. She has them sent home and if
Mr. Hornblow doesn't like them, she
generally doesn't take them — only once in
a great while, if she happens to be set on a
thing for some reason. He never tells her
not to. He says, "Well, that doesn't appeal
to me but if you like it, honey, you get it."
So, when she buys something out of the
ordinary, she keeps it for a big surprise
and puts it on just before time for him to
come home. Like she got a red hat and
she said, "I'll bet this won't go over,
Theresa." But one look at his face made
me chuckle to myself, "Well, that's one
bet you lost, Mrs. Hornblow."
Evenings, they might listen to the Cape-
hart, or they might read. If he's interested
in a book, he'll bring home two. He reads
one and she reads the other, and then they
compare -notes. Or they might have a few
friends to dinner. They don't go much for
big parties. But there's one thing I noticed.
Even when they have people in, it's always
kind of peaceful, and even when just the
two of them are alone, it's always kind of
gay. That might sound funny to some
people, but it's true.
'Well, I guess that's all, except maybe
this'll show why we feel like we do about
Miss Loy. She never orders you around
and she never bawls you out when you make
a mistake. She might say, "Let's try to
get this a little brighter," or, "Here's a
scratch, maybe we could polish it off." She
was having a tea-party and it was the
butler's day off. She didn't even ask him
to stay. She said it was his day and he
had a right to it. Miss Loy just put on an
apron and came out in the kitchen and
started fixing some sandwiches and making
her own tea. She didn't expect the maid
to do everything by herself. She pitched
right in and helped. A person like that
has a good effect on you. You just want
to do and do and do things for her.
Football days are here again
and is Marjorie Weaver glad!
She puts that college spirit into
"Hold That Co-ed."
MODERN SCREEN
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85
MODERN SCREEN
WHAT'S THE MATTER WITH HEPBURN?
(Continued from page 27)
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absolutely dying to catch a glimpse of Hep-
burn in overalls ! So her policy of being
the eccentric one wasn't a flop, either.
They knew she wasn't just another one of
those movie gals.
And so when Kate recently shook the
dust of Hollywood from her feet and
climbed onto the East-bound plane it was
with the strangest feelings she'd ever had.
Other studios wanted her, would give ex-
cellent roles. But is acting enough for her ?
For six years she's had Hollywood pres-
tige. It's brought her a fortune — and Kate
has never underestimated the power of
money. She knows that a woman isn't
independent until she can afford to be.
Acting for the movies is a tremendous
kick if your parts can be hand-picked, and
if you can out-bluff the moguls. But out-
bluffing is a tiring sideline to a job? What
did it all amount to?
When she and Laura Harding reached
New York the spell of the city, its hum, its
theatres, its splendid shops and big hotels,
captured her imagination, restored her
ambition. She was on the go from late
morning until early morning. Then sud-
denly Kate was fed up with city whirling.
She had to get home. She told Laura good-
bye for a while and headed for Hartford,
Connecticut.
When she first arrived home there was a
bit of a stir. The papers duly reported her
celebrated person materializing again. The
front doorbell did double duty as eager
fans, oblivious to Hepburn's Hollywood
reputation for aloofness, politely dropped in
for autographs. The family maid was in
no end of a flurry conveying scraps of
paper to wherever Kate was. One can't be
an ambassadress every day !
In a day or two, though, it seemed as
though Kate had been home for months and
months. She isn't pampered by her par-
ents or her brothers and sisters, you see.
(There are four brothers and sisters, so
she's only one of five children equally
loved.) Naturally the family is thrilled
over Kate's success. She wants to share
her good experiences with them, and does.
She's exceptionally thoughtful. But none
of the family will chisel in on her earnings
as a movie star. None of them are the
helpful type. They say she followed her
hunch and has been rewarded. They figure
they'll do the same.
Consequently, it has been like old times
for Kate. She usually plays golf these
mornings. When she was in college she
was runner-up for the Connecticut women's
golf championship. She's kept up her
golf out in California, even to making a
hole-in-one. The family would like to have
seen that !
At the home country club Kate is one
of the crowd. She doesn't rig herself up in
overalls, you may be positive, but appears
in conventional, attractive slacks. After
thirty-six holes, which gives you some idea
of her endurance, she comes into the caddy
house and chins with the "pro"' about her
game, and coaxes her caddy into coming
clean on what he thinks of her strokes.
Kate passes up the "nineteenth" hole and
its jolly drinkers. She's fond of her ciga-
rettes but not of tall cool ones.
BACK at home she races her partner of
the morning, a brother or a sister, to
the luncheon table. Dr. Hepburn, who
idolizes her and has never been known to
refuse a single thing she's asked for, hur-
ries home from his office to enjoy every
minute of her stay. Kate is intensely con-
cerned with all of his current cases and
wants to learn exactly what's happened to
Mrs. Smith, and if George Barry is any
better, and will that neighbor girl have to
have an operation after all?
Following lunch she and her mother
practically always find a conference in
order, and Kate smiles discreet amusement
as her mother practices a campaign speech
on birth control. Kate realizes where her
own soap-box tendency comes from. She
is immensely proud that her mother has
combined marriage, motherhood, and wel-
fare work so intelligently. Every time she
looks at her mother, Kate recalls the mean-
ing of service to others. She admits how
worthwhile being a good sport really is.
Sonja Henie and her troupe take us back to fairy-tale days in the
Alice in Wonderland number from "My Lucky Star." Kids from six
to sixty will love this one.
86
MODERN SCREEN
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Her mother has built a life around the
vital elements, and Kate approves.
It seems amazing not to have to rush to
a set right after the noon hour. Kate
lazily yields to the drowsiness which
creeps up on her. That chaise lounge in
her cretonned bedroom lures her. She
picks up a new book — the house is chock-
full of new books — and totes it upstairs
with her. In half an hour she is yawning
over it. When she wakes she hears noises
down on the side porch. It's the collegians
again. So she drops the book, runs a
comb through her hair, and dashes down to
get in on the argument. It's some world-
shaking matter. She edges into a swing,
grabs a glass of lemonade, and swears that
when she went to Bryn Mawr no Harvard
man ever dared to defy her with any such
sheer nonsense !
This star who can confound Hollywood
with idiosyncrasies, who won't be inter-
viewed out there at all, is now part of an
intensely real household, reveling in the
kind of vacation few movie stars ever take.
Kate has gone a long way up. She's ac-
quired great acclaim. She certainly could
be summering in grand style. But home
sounds better to her. When faced with a
dilemma, Kate has invariably come home.
WHAT to do about Hollywood and
marriage seems far away on these
long summer evenings, with the crickets
chirping in the lawn and no one demand-
ing that she Do Something Dramatic Im-
mediately.
Kate is certainly earnestness itself when
her adored older brother relates his prog-
ress. She doesn't have bossy words for her
sisters either, but gives her opinion when
they request it.
The family's conversation gets around to
what she's going to do, eventually. But
there is no sense of urgency here in Hart-
ford, no feeling that Kate must rush into
some bizarre schedule for fear of losing out
in Hollywood. The Hepburns, anyway,
have always seen to it that they don't have
to rush crazily into ill-advised paths. Kate
can afford to select because she's saved
enough money to be independent.
In Hollywood it's the theory that Kate's
never taken advice from anyone. Holly-
wood accuses her of egotism, because she
persists in working on barred sets. How-
ever, those who actually work with her
have found her as likeable as her family
and close friends do. Gary Grant, who is
in a position to speak authoritatively and
who has nothing to gain by apple polishing,
says, "Kate is more congenial than any
actress I've ever worked with. She's my
favorite !"
But Hollywood as a whole will never
be able to reason out a star who'll talk
seriously with mere studio employees and
thereby lose a chance to broadcast sensa-
tionally via interviewers. Kate's views are
numerous, logical, provocative. But she
contends that Garbo had the truest inspira-
tion about publicity and that what the
public wants to imagine about an actress
is unlimited. If any actress should talk
freely to the press, it is evident that she'd
not be as intriguing. So, why talk?
Because Kate is so analytical, and honest,
she should reach the right conclusion about
herself this summer. She knows that she
wants to go on acting in important pictures.
But she says one or two a year will be
sufficient. Last year she earned $200,000
in Hollywood, so why not pick carefully
now? She knows, too, that she wants to
continue her stage climlj, for she has much
further to go in the theatre itself. She
quit Broadway when she'd only begun, and
her one return was severely panned. Last
year she toured on the road, most success-
fully. She didn't take the play into New
York because she had a suspicion she I
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wasn't quite good enough in it. This fall ?
The Theatre Guild already has Broadway
designs for her.
"I still have to keep my fingers crossed,"
'she confesses. She can grin now about her
first onslaught on Broadway. Kate remem-
bers how she started by making the rounds
of the producers' offices, and it was as hot
a summer as this one has been. Hotter,
she maintains. She was far too nervous
and bashful. Quite soon she was perspir-
ing dreadfully, her clothes and hair sadly
mussed. She was anxious to repair these
damages of the heat, but ashamed to in-
quire for the ladies' rooms. That's the
real reason why she was never chic ! And
because she wasn't chic, if you want to
know all, she never once got to talk to a
single solitary stage producer !
"But I had red hair, freckles and a
temper, and the only solution was to live
up to them!" Thoroughly ignored in the
New York that now gossips about her plans,
she heard that a stock company in Balti-
more wanted an actress. Kate attempted
her first bluflF. Outstanding in campus
dramatics, with no stage record in a thea-
tre, but needing only a break, she talked so
long and fast that down there they gave
her the job that was open.
ONE of her self-imposed drawbacks
has been her insistence upon inter-
preting all her roles absolutely as she
herself visualizes them. She almost never
got to Hollywood because of this trait.
She was fired from a succession of
Broadway shows, even losing a lead op-
posite Leslie Howard when she was still
a nobody because she refused to change
her mind about how his leading lady
should be characterized. What if he
was famous and she was a rank amateur?
She didn't care ! She knew, instinctively,
what was best for her.
As a small child Katharine Hepburn was
given to either crying until she got what
she wanted, or she'd refuse to participate
in the back-yard dramas until her rules
were accepted. Luckily she became a star
overnight in Hollywood, so she hasn't had
to give in to any movie director on points
of interpretation. She wouldn't have a di-
rector who'd subdue her slant on a role.
She thinks it's quite a coincidence that,
exactly _ ten years ago, she understudied
the original stage star of "Holiday." When
Hope Williams was creating the role that
Kate has recently clicked in, the fiery Hep-
burn gladly joined the troupe as stellar un-
derstudy. "Hope Williams was the healthi-
est star I ever met!" But standing in the
wings every night, praying for a miracle
so that she could go on, imprinted this par-
ticular drama in her mind. When she was
offered a screen test she chose a sequence
from this play to display her acting.
Kate has the talent and the desire to ul-
timately reign as one of Broadway's en-
during queens. So she thinks she'll keep
on with her stage yen. But now what of
her as a woman?
She was married from the jolly house in
Hartford ten years ago. She was all ec-
static hopes about love then. Hollywood
wasn't even a glint. He was tall, gallant,
and so sympathetic towards her stage lean-
ings. He'd graduated from college and had
put himself into the brokerage business in
Philadelphia. But he moved his firm to
New York so that she could go into the
theatre and they could be modern and sky-
rocket in two careers together. It was
young romance rampant.
As Mrs. Ludlow Smith in private life,
she fixed up an apartment, and they were
very determined to get ahead. But she
grew more and more devoted to her career,
and less and less devoted to Ludlow. When
she went to Hollywood she denied her mar-
riage. Later she secured a Mexican di-
vorce, hoping for secrecy in the break-up.
In Hollywood she has managed her ca-
reer battles herself, has never gone with
any studio powers. Love's been out.
George Cukor and Leland Hayward, her
agent, have been her closest men friends.
Laura Harding, her chum from Bryn
Mawr days, has been her companion in her
rented hilltop mansion in the West.
But Kate, of course, is very emotional.
So when she met Howard Hughes, who is
adventurous and a sophisticate and a mil-
lionaire besides, she remembered she could
be just a woman after all. Now — should
she be? He is fascinating, and being with
him is so stimulating. But he'd never play
second fiddle to any woman's career. He's
Loretta Young poses for us with one of her special friends. Who said
something about a dog's life being hard?
88
MODERN SCREEN
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used to having his own way with women,
too. Kate doesn't mind giving in to his
whims now. But could she — for always ?
The gangling, timid, bright girl from
Hartford is back home vacationing. She's
a glamorous woman of the world now and,
incredibly, she hasn't outgrown her "folks."
But what lies ahead for her? Merely act-
ing greatness, gained by concentrating on
technique and devoting herself to self-im-
provement? That's going to be a very
lonesome life.
Suppose she allows herself to be a wo-
man, concerned only with one man's wishes.
We only live once. What's fame? They
forget you in a few years ! Being a wife
like these others, with a home full of kids
who'll be a comfort when age comes—
Kate's thinking of this too. One marriage
bust-up has taught her plenty. Holding
onto love seems simpler now. An extrem-
ist? Too outspoken? Spoiled into demand-
ing all or nothing in everything ? It's not
too late to change !
Now look at all of these college kids who
flock around her home — why, before Kate
went into the theatre she too was awarded
a fancy degree. She was branded a bache-
lor of psychology ! Why can't she prac-
tice her psychology now? Why can't she
have an all-consuming love and also a bril-
liant, wonderful career? Why can't she be-
come a great woman, understanding and
tender, and also the American Bernhardt?
Such thoughts as these are running riot
through Katharine Hepburn's head as the
summer moon wanes and the family and
their friends, who are her friends too, chat-
ter on. What's the matter with Kate? She's
undecided, for the first and only time she
can ever recall. But, as I see her smiling, I
know that inside she isn't smiling at all.
Inside she's busily trying to determine her
destiny. She is on the verge of her wonder-
ful discovery. Conquest of self, conquest
of divided impulses, that must be her an-
swer ! It will be brutal if she pulls a boner.
A bit of charm from yester-
year. Jim Ellison, Ruby Keeler
and Anne Shirley in "Mother
Carey's Chickens."
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89
MODERN SCREEN
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"Hello, operator! What? De-
posit five cents? Oh yes, of
course, how stupid of me!"
floor show." Murphy had won a friend,
and, through winning a friend, he had won
a job. So, Rule 1: Tal<:e an interest in
other people and their problems.
The most important thing to remember
is that people are first, last and always in-
terested in themselves, and that they will
be flattered if you show that you are in-
terested in them. In line with this, it is
important to remember people's names, and
to call them by name whenever you can.
Buddy Ebsen, long, angular laugh pro-
voker, learned early in his days as a
trouper that the more friends you can
make in various one night stands the bet-
ter. Realizing the value of incurring the
favor of stage door and prop men, Buddy
hit upon a plan.
EVERYONE is flattered, he figured,
when someone remembers a first name.
People are also flattered if, in addition to
a name, one remembers the name and age
of a wife or child or little details they may
reveal as to their personal lives.
And so Buddy made out a book. At
every new theatre he would list the town,
theatre name, and the names and personal
information about various employees.
When scheduled to arrive at a certain
town. Buddy would whip out this vest
pocket volume and review the situation. As
a result, there isn't one of these men who
fails to respond to Ebsen's name on the
screen. In him they recognize a friend.
Rule 2, then : Remember people's names,
their likes and dislikes.
If Hollywood stars were entirely selfish,
they might go out of their way only to
befriend those who, in turn, can help them.
But that has never been true of the finest
stars in the profession.
Eleanor Powell, one of the best-liked
girls in Hollywood, is just as friendly to-
ward humble, unimportant people as she
is toward big executives. That was re-
cently proved when she traveled on the
S. S. Santa Paula from California to New
York. Although any Hollywood star could
demand and get good service anywhere,
she would undoubtedly arouse a good deal
of resentment if she acted as if it were her
prerogative to be served.
When Eleanor Powell casually men-
tioned that she liked cream soup and chow
mein, every night after that they appeared
on the ship's menu. Two Chinese stewards,
Lee and Tom, vied with each other to
serve Eleanor. One of them, Tom, was
"What do they do with all my
nickels while I wait? Well,
I'll just get comfortable."
supposed to be the captain's own cabin
boy, for he had been with the captain for
years. The captain liked to boast of how
faithful Tom was and of how Tom would
never leave him for anyone else.
Towards the end of the trip, Tom went
down to see Eleanor. "I want to work for
you," he told her. "I like you. Please
give me a job for always."
"But the captain — what of him?" Elea-
nor said helplessly.
"Never mind the captain," Tom told her.
"I want to work for you."
Practically the same scene was repeated
with Lee. Regretfully Eleanor told the
two boys that she couldn't possibly make
use of their services in either New York or
Hollywood. But some time later she re-
ceived a letter from the captain saying that
Tom and Lee continually keep talking about
her and hoping that some day they would
have another chance to serve "the very
pretty lady."
What made the two boys so eager to
work for Eleanor ? The answer is so sim-
ple that I can only hope you will believe
it. Eleanor showed her frank, honest ap-
preciation of every service they did for her
and made them feel important. "You're so
good to me," she kept telling them.
So, Rule 3. Show your appreciation for
the services other people render you. Take
a tip from Dale Carnegie and be "hearty in
your approbation and lavish in your praise."
Not all Hollywood stars are always kind
to other people, and to say that they are
would be to stretch credulity to the break-
ing point. There are a number of girls who
were once top-notch stars who have been
very cruel to dressmakers, to the prop
boys on their sets, to script girls and other
people in badly-paid jobs who cannot very
well defend themselves.
There was, for instance, one star who
bought a dress at a department store for
seventeen dollars, when the dress should
have been priced much higher. When the
salesgirl discovered her mistake, she
pleaded with the star to return the dress
or pay the dift'erence, as she could not
afford to do so out of her meagre salary.
But the star only laughed at her predica-
ment, saying she had brought it on herself.
Never has one of the stars who trample
on other people's rights lasted very long
as a top box-office attraction. A camera-
man, whom a star has snubbed, can take
a few unflattering pictures of her, so the
fans find that she no longer looks attrac-
HOW THEY WIN FRIENDS
(Continued from page 39)
90
Not asleep after all! "Hello,
Bill! This is Edward Horton.
What are you doing tonight?"
tive. Possibly a story about the star's real
characteristics gets printed in a magazine
or newspaper, and there is so much evi-
dence that the fans lose faith in her.
But nothing can defeat the Joan Craw-
fords, the Jeanette MacDonalds and the
Irene Dunnes of Hollywood. They have
too many friends.
There is an amazing but true story about
Irene Dunne which explains why she will
never be without friends. One night her
bedside phone rang and a woman's voice,
hoarse with desperation, said, "Oh, I
thought I'd never reach you. Please come
right away. is dying, and she's too
proud to let herself be taken to the charity
hospital. I don't know what to do, for she's
absolutely penniless."
The name she mentioned was one with
which Irene Dunne was familiar — the
name of an actress who had once been a
great star. Stopping only long enough to
ascertain the address, Irene Dunne came
to an unfamiliar house in one of the poor-
est sections of Hollywood.
The woman who opened the door gasped
in astonishment when she saw Irene. "But,"
she said, "you're Irene Dunne."
"Yes," Irene said, "you sent for me,
didn't you?"
In a daze the woman said, "I sent for
my friend, Mrs. X. I never dreamed that
it was someone else, least of all you, who
answered the telephone."
THROUGH an accident, she had been
connected with Irene's private number
instead of her friend's number. Silently she
led the way into the room of the woman
who was ill, a fine, grand old woman who
had once played in a picture with Irene.
Irene helped her, as she has helped so many
others, and because of her timely aid, the
woman is alive and provided for today.
Rule 4, then : Be ready to go out of your
way to help other people.
Claudette Colbert is adored in Holly-
wood, because she is always sympathetic
and tolerant, and has never been known
to be high-hat. She possesses the knack
so few people have, of being able to put
herself in the other person's place. One
of the most amusing instances of this is
that now one of her best friends is a girl
who once did something for which another
actress might have sued her.
The girl, a writer, read in one of the
Broadway columns that Claudette Colbert
was in New York, and asked her editor if
she could have the day off to interview
Claudette. This permission was readily
granted. But the girl, instead of inter-
viewing Claudette, drove out to the coun-
try and spent the day playing golf, be-
lieving that she could get the interview the
next day by appealing to Miss Colbert's
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91
MODERN SCREEN
l|l|l|l|l|l|l|l|l|l|l|l|l|l|l|l|l|l!S|l|l|l|l|^
I USED TO ^
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JOB TILL I 3
fOUND 3;
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It's no fun to scrub and scour a
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A speck of dirt breeds dangerous
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Sani -Flush is made scientifically
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CtEANS TbflEr BOWtS WITHOUr SCiliUBiNG;
sympathies and telling her that she would
be fired if she didn't get the story.
The next day she told her editor that
she had obtained a splendid story from
Claudette, with lots of quotes on Claudette's
long-distance marriage. (At the time
Claudette was married to Norman Foster.)
Then she called Claudette's apartment, but
learned, to her horror, that the columnist
had made an error, and that Claudette was
still in Hollywood.
Afraid to tell her editor the truth, she
wrote a story which purported to be an
interview with Claudette, but which was
entirely "dreamed up." When the story
was printed, the writer shivered, fearing a
possible libel suit.
Not long afterwards, Claudette came to
New York and the writer met her at a
cocktail party. Introduced to the girl,
Claudette said coldly, "Oh, so you're the
one who wrote that story about me? Are
you in the habit of quoting people whom
you've never met?"
Shaking with apprehension, the writer
said, "Oh, but I can explain exactly how
it happened." Then she told how much
she had longed to take a day ofif to go
tramping in the country. Before she got
through Claudette was laughing heartily
and agreeing that a game of golf was
much more fun than interviewing stars.
So, Rule 5 : Put yourself in the other
person's place and be tolerant, sympathetic
and understanding.
WHEN Sylvia Sidney first came to
Hollywood, she was so anxious to
get her own way that she got the reputa-
tion of being very temperamental. Re-
cently she told me, "I have discovered
that if you want to influence people, you
can't afford to be temperamental. It's a
waste of energy and emotion to go yip-
yip-yipping about everything. When you
make an issue of every little thing, no one
will pay any attention to you when you
make an issue of something that is really
vital and important.
"When I am working on a picture, I
am as good a trouper as possible, and gen-
erally do not complain about anything.
Once, however, when I was loaned out
for a picture, I was asked to shoot some
special scenes at night when I was dead
tired and not feeling very well. I said,
'Listen, I've been a good little girl and
done everything else you've asked, but I
don't feel right just now. Let's postpone
these scenes till tomorrow.' They were
lovely about it, but I doubt if they would
have been if I'd been a pain in the neck
all through the production."
Which gives us Rule 6 : Give in to
other people on issues that are not vital,
taking a firm stand only on really im-
portant matters.
Most of us err in being too honest in
our criticism of other people, though we
seldom are willing to profit by criticism
ourselves. Once Nelson Eddy almost made
a mistake like this.
When Nelson was singing with the Phil-
adelphia Opera Company, Dr. Edouard
Lippe, a famous vocal instructor whom
Eddy had never met, attended the re-
hearsal. When it was over,_ he said to
Nelson, "You have a nice voice, my boy,
but you don't know how to use it."
Nelson, not knowing who Lippe was,
but furious because a stranger had dared
to criticize him, turned and walked away.
At home that evening the thought of the
morning's event haunted him. He won-
dered who the stranger had been, and
what he had meant by the criticism. Real-
izing that he had been inexcusably rude,
Nelson called other members of the corp-
pany, found out the name of the man and
his address and, later that night, called
to extend his apologies.
Naturally, the first meeting was a trifle
strained, but more meetings followed, and
at each one Nelson put forth more effort to
win Lippe as a friend. He succeeded so
well that Dr. Lippe has been Nelson's voice
teacher ever since.
Rule 7, then : When you have made a
mistake, be big enough to admit it.
There are certain qualities which are
universally admired, and which are bound
to make friends for us if we cultivate
them. There is good sportsmanship, for
example. One of the best-liked actors in
Hollywood is Cesar Romero. Originally
cast in inferior roles, he is rapidly forging
ahead to stardom, principally, I think, be-
cause executives like Cesar and are eager
to find roles in which he will be able to
acquit himself well.
During the making of one picture Cesar
was subjected to a series of practical jokes
that would have infuriated most people.
There was the moving van which arrived
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Jack Benny strums a tune for seven Cinderellas — all starlets in his
new picture, "Artists and Models Abroad." Left to right: Joyce
Mathews, Dolores Casey, Gwen Kenyon, Yvonne Duval, Sheila
Darcy, Marie De Forrest and Punkins Parker.
92
MODERN SCREEN
at his house with orders to move Cesar
and all his furniture, although his lease
wasn't up and he had no intention of mov-
ing. There was the colored undertaker
who arrived to pick up the body of Cesar's
colored maid, who, the undertaker had been
informed, had died in a tragic accident.
(Actually Cesar has no colored maid.)
There was the huge box of flowers Ethel
Merman received, with Cesar's card inside
it. Cesar protested that he had never sent
them, but at the end of the month he
got a bill for them, and when he called
up the florist, he was told that his secre-
tary, a Miss Rosenbloom, had ordered
them. Though Cesar has no secretary
named Miss Rosenbloom, he realized that
the florist was not to blame, and paid the
bill.
Though Cesar knew very well that the
other actors on the set had ganged up
against him, he took it all with a smile.
Do you wonder a fellow like that makes
friends ?
So Rule 8 : Be a good sport.
That doesn't mean that you must al-
ways take circumstances lying down, or
that when you are trying to get a job
or influence people you must be too humble
and meek. If it is natural for you to fight
for what you want, go ahead and fight.
CONRAD NAGEL had been starring in
all sorts of productions when a new
director, considering him for a tough role,
insisted that Conrad must take a screen test
before he could be considered. To Conrad
this seemed pretty ridiculous, since he had
played in dozens of picture at which this
director could have looked. But he agreed
to take the test.
Since Conrad could say and do anything
he wanted to in that test, he decided to
show the director just how tough he could
be. He started in by telling him just what
he thought of a man who didn't have sense
enough to look at one of his regular films.
Conrad said such a director didn't have
enough discrimination to cast a travelogue,
and that, as far as he was concerned, said
director knew what he could do with his
part, his screen play and his picture.
Conrad told me, "I used some language
I couldn't repeat now, when I'm calmed
down."
But it worked. When the director saw
the test, he rolled on the floor and then
when he could speak, he slapped Conrad on
the back and said, "You're the man for the
part. I didn't think you had it in you."
Rule 9, then. Don't be afraid to fight for
what you want.
If you will start today to follow the
movie stars' rules for popularity and suc-
cess, they will work for you just as in-
evitably as they work for everyone else
who has tried them.
If you want to make friends and influ-
ence people :
1. Take an interest in other people and
their problems.
2. Remember people's names, their likes
and dislikes.
3. Show appreciation for services ren-
dered.
4. Be ready to go out of your way to
help others.
5. Put yourself in the other person's
place and be tolerant and understanding.
6. Give in on issues that are not vital,
taking a firm stand only on important
matters.
7. Admit your mistakes, and be big
enough to apologize for them when you
have offended.
8. Show good sportsmanship.
9. If you want something badly, fight
for it.
FASHION, this fall, has particular wiles
to make a woman look young. Shim-
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Shiny Nose is often due to excessive
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HEAR TYRONE POWER in thrilling radio dramas,
Sunday Nights, NBC Blue Network, beginning October 2.
93
MODERN SCREEN
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KEEPING UP WITH THE JONESES
{Continued from page 43)
Grandma has a dry and crackling wit.
A veteran trouper, the Jones series has
given her filrn career a shot in the arm.
She herself needs no stimulus beyond what
she generates. You don't listen to Grand-
ma as to a sweet old lady who ought to
be humored. You listen because, while
her speech is somewhat tart, it's never dull.
She has a house in the valley. Out-
doors, she gardens. Indoors, she knits.
"Of course I live alone. I've lived alone
all my life. I don't see why I shouldn't
a few days longer. There are always
handmaidens, of course. But those you
can get rid of. I've just got rid of my
last one. She wouldn't let me have any-
thing the way I wanted it. Her doctor
only allowed her two things to eat, caviar
and I forgot the other. So that was all
she ever gave me to eat. One day she came
in to fetch me, looking like a thunder-
cloud. I'll admit her grievance was just.
She'd missed Fannie Brice on the radio.
Well, I don't pretend to pull any weight
as against Fannie but, so far as I'd heard,
Fannie wasn't paying her to listen. When
I fired her, she turned the other cheek.
'You're erratic,' says she, 'but I like you.'
Maybe it was my mistake. Maybe I
should have exhibited her as a curio."
CPRING BYINGTON creates an impres-
^ sion closely akin to that of her screen
characterization. She seems moved by a
spirit, gayer than that of Mother Jones but
equally serene. To her, Mrs. Jones is
what a mother should be. "She holds the
place every mother ought to hold in a
family, letting others go their own way,
being always there but not as a ' stum-
bling block, letting their excitement wash
over her without upsetting her too much.
It will all come out in the end. Eventu-
ally they'll remember to take their rub-
bers of¥ before tracking mud into the
house. They'll remember, to pick up their
things. Johnny will break his arm, but
eventually the arm will mend. That's
mother's set-up in the household. That's
the kind of mother I'd like to be.
"Of course, I've been a working woman
all my life, so I haven't had so much
of the day-by-day routine with my girls."
(Her girls are Phyllis, twenty, who's
learning to be a stage manager, and Lois,
eighteen, who wants to design clothes.)
"That may have led to my over-stressing
things a little. I remember writing to
them once, 'Do you ever get tired of my
lectures by mail?' They wrote back, 'Since
you're kind enough to ask, mother, it's a
question of placement. A Httle lecture in
the middle with a lot of sugar coating
'round it doesn't taste so bad.' "
Which brings us to Dad Prouty, who's
blessed with more humor than Dad Jones-
He and Mrs. Prouty have no children of
their own, though from his way with the
younger generation you'd never guess it.
He's alternately sparring with them and
lending a paternal ear to their various
enthusiasms. He won't take them too
seriously but, caught off guard, pride in
them kindles his eye. "Look at them !
Wise guys ! Showing up father ! When
we started, June was up to here on rne
and George was up to here. Now I can't
see over their heads. D'you like short
men, mother ?"
"Of course, dear. Better than anything
else in the world."
From his years on the stage and in
vaudeville, he has brought a wealth of
trick songs and stunts with which he
enlivens the set, and which make him
young Billy's special joy and wonder. He
is also supplied with innumerable sprightly
anecdotes bound up with the old days.
Between shots you're likely to find him
with Miss Byington on one side, Grand-
ma busily knitting on the other, and
Kenny, a lover of all things theatrical,
sprawled at his feet as he spins his tales.
When Dad Prouty first came to Holly-
wood, he played a comic stuttering role
that proved his downfall. "We've nothing
in the stuttering line today," they'd tell
him, and though he proved a dozen times
that he could stutter but didn't have to,
it did him no good till the Jones pictures
came along. Then the first picture hit,
and the exhibitors began yelling, "We
want big names." There was talk at the
studio of a new father Jones. "No," said
Sol Murtzel. "We're not playing for
names, we're playing for the Joneses. Jed's
the father of that bunch, and they're too
nice a bunch to be saddled with a step-
father. Jed stays." The event proved
his wisdom.
Shirley Deane is unique among the
Joneses for two things. She was the only
player under contract to the studio
when the series was first started. And
she's the only player who didn't start with
it. Blue-eyed and golden-haired like June
Lang, and sufficiently like her in type, she
inherited the part when June's schedule
grew too heavy for her to continue. As
vivacious as Bonnie, she and Bonnie have
something else in common. Each is in love
with a man named Russell — Bonnie with
Russell Gleason (Herbert to the Joneses),
Shirley with Russell Bowditch, studio
technician. When the family attended the
premiere of "In Old Chicago" en masse,
Shirley was escorted by her screen fiance,
while her own fiance took Cynthia Hobart,
engaged to Russell Gleason.
"But the funniest mixup," says Shirley,
"came after 'Borrowing Trouble.' There
was this old caretaker on the set who was
sort of vague — "
"How kindly you put it," comments
Grandma. "She was downright balmy.
They've pensioned her ofif since."
"Well, anyway, I walked into my dress-
ing-room the first day, and what had
Bob Hope suspects that this
giant golf club from his enemy
of the links, Bing Crosby, was
not given in good faith.
94
MODERN SCREEN
she done but put Russell's things in with
mine. When they asked her about it, she
kept saying, 'Well, they were married in
the last picture, weren't they? Married
folks belong together.' "
Kenneth Howell is like Jack Jones in
his open-heartedness, differs from him in
being more fluent of tongue. He gave
up a good insurance job "for the pleasure
of trying to starve to death as an actor."
"How do you get to be an actor?" he
asked a friend. "Find an agent." "How
do you find an agent?" "I wouldn't know."
Kenny opened the phone book, closed his
eyes and speared an agent. For reasons
unknown, though something engaging in
Kenny's makeup was probably involved,
the agent agreed to handle him. Kenny
knew George Ernest's elder brother. He
discovered that George was trying out for
the younger Jones boy. They got together
and rehearsed the miser scene.
Said George, with ten years of screen
experience behind him, "Now we'll make
them test us together or put up a kick."
The kick wasn't necessary. They were
tested together and signe'd together.
A warm friendship has grovvn up be-
tween Kenny and Miss Byington. "I've
taken him under my wing," she says.
"Wing, nothing," he scoffs. "She's my
best girl."
Kenny pays fifteen dollars a month for
his house at Manhattan Beach and lives
on twenty-five dollars a week. "That's
what Fd get in a bank or store, and Fd
have to live on it. Now I make myself
live on it, so I can save to do things I
want — learn to be a good actor, and travel."
GRANDMA grew weary not long ago
of listening to Kenny yearn for far
off places. "Don't talk about it," she
snapped. "Don't think about it. Go."
The following week he was off for two
months in Europe.
About ten years ago Sid Graumann was
lunching at a restaurant owned by a Scan-
dinavian couple. A small . boy entered,
closed the door behind him, and as he
started up the aisle between the tables,
broke into this singular chant. "Fm
George Ernest. Fm three years old. Fm
fine, thank you. Fm George Ernest. Fm
three years old. Fm fine, thank you — "
keeping it up till he ducked through the
back door.
"What's it all about?" Graumann asked
the proprietor.
"That's my kid. The customers kept
calling him over and asking his name, so
he does it that way."
Graumann whooped. "He ought to be
in the movies." George Ernest, three, was
registered at Central Casting and has been
in the movies ever since.
No Shylock, he's still a better business
man than Kenny. Kenny goes on a bud-
get to protect himself from spending.
George is protected by a sound sense of
business values and the courage of his
stout convictions. "For instance, I spend
most of my allowance on camera equip-
ment. I won't save when it comes to
cameras. But I won't just get anything
either. I look it over. I read the maga-
zines. I ask questions. Then, if it's good,
I buy it." At school he majors in mathe-
matics. "I might go in for aeronautical
designing. Sure, Fd like to be an actor,
but not just an actor. Suppose some-
thing goes wrong, or you have an accident
and get a scar on your face. Then where
are you? Fd just as soon work in a
camera store. You could have all the
scars you want and it wouldn't matter.
Say, could I show you this picture of
Patricia?" His eyes softened as the eyes
of small boys rarely do. "She's my niece,
she's five. Fm proud of her. Isn't she-
a cute one, Miss Byington?"
*Ann Miller with James Stewart in Frank Capra's "Tou Can't Take It With You" (A Columbia Picture)
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Unlike Lucy, June is a little shy.
Her smile comes readily, her words
less so. Her transplantation to the film
world has left her quite calm-. "1 was
taking tap with Fanchon and Marco, then
I was in a play. The scout saw me, told
me to come over, so I did. I just sat
there and they looked at me, and that night
they called and told me I had the part. My
daddy's always been kind of the excited
type. He got all fussed, but mother and
I never get excited. We were just happy
about it. The girls at school thought it
was good luck, that's all — and it was.
The only difference is, I go to school at
the studio now. It's nice, because you get
the afternoon off." Still, Lucy's impish-
ness lurks behind June's demureness.
"Isn't it, Geo-orge-ee?" she drawled.
Plucked from the radio to play Bobby
Jones, Billy Mahan is a normal young-
ster, squirmy, mischievous and lovable. He
has two passions, airplanes and Brian Don-
levy. He can no more help yelling to
climb aboard an airplane on sight than he
can help breathing. Why he should have
picked on Donlevy as an object of ven-
eration is a greater mystery. He stalks
the actor like a shadow at every oppor-
tunity, his chattering tongue stilled, his
heart in his eyes. Recently they were
photographed together. When the picture
was brought for Billy's inspection, he
screwed his eyes tight and refused to look
at it at all.
"Why won't you look, Billy?" his mother
asked him.
"Maybe it's not so nice," he murmured.
Luncheon was over by the time all these
gleanings were gathered. The Joneses
vi'ere bidding each other casual farewells.
No need for ceremony. They'd be seeing
each other again tonight or tomorrow or
after the week-end.
Dad stood with his arm around Moth-
er's shoulder. "Hear you're going to have
a baby in the next picture, Bonnie. That
means you and I'll have to retire, Mother."
"Not at all," protests Mother. "Not un-
til Bonnie's baby has a baby."
"Why then?" Kenny wanted to know.
"What's wrong with great grandpa and
grandma Jones?"
"What's wrong with all the Joneses?"
piped young Billy suddenly, and answered
himself, "Nothin'."
Which answer is good enough for you
and me and several hundred thousand
other Jones family fans.
HE'S GOOFY AND HE LIKES IT
(Continued from page 46)
boiling a passionate brew. Books are not
silent. I hear them talking aloud, in
many tongues. I read a script and the
lines mean nothing to me. The character
I am to play means nothing, as written. I
am a bad 'study' because of this. Then,
suddenly, some oblique angle of the char-
acter's personality will leap out at me,_ a
twist, a goat-like angle and — I play him
so." (Which is, of course, what makes
Reginald Owen's "characters" bite into the
mind as they do. One would not be
surprised, watching Mr. Owen, to _ per-
ceive that he has goats' feet, a pair of
horns, a nimbus round his head or almost
any curious addenda.)
"I look at love abnormally. The same
is true of world conditions, public per-
sonalities. I am cynical to the point of
being a touch mad. When famous men
speak, for example, I don't think that they
always believe what they are saying. I
find myself digging, quarrying, mining for
what they do mean back of their camou-
flaging words. I cannot take any thing
or any one at face value. I feel an itching
to tear off the mask from every face.
"As for love, I have an acquaintance,
a very well-known actor. He has been
married for a quarter of a century or
more. He tells — and the world believes—
that theirs has been a 'great love,' an
idyl of connubial felicity. Whenever his
wife enters a room he rises and says,
'How are you, my love?' though he knows
perfectly well just how she is. Or he
sits, invariably at her side, patting her
hand, her shoulder. His face never changes,
no matter what role he plays, saint or
satyr, priest or passionate poet. The ex-
pression in his eyes never changes, and
hasn't for forty years. Therefore, he can
feel any emotion and no one be the wiser.
I look at him and suspect him of having
little salacious question marks in his eyes,
just tiny little ones, you know, when a
tidy Miss in her teens passes him by.
"I sort of don't believe that things are
as they seem. No, it doesn't make me
uncomfortable or unhappy, because I don't
care. Not that I am happy. I am not,
of course. I don't know why, I'm sure. I
am happily married. I adore my work. But
there it is. Is anybody altogether happy?
"I regard love with laughter, not as
the be-all and end-all of existence. I
suspect it of being a pleasant trap charm-
ingly decorated and sprung — not once, but
often — by wily Nature. I may be abnormal
in this, too," smiled Reginald Owen, his
blue eyes frank and honest, his smile subtle
and somehow secretive, "but I regard us
mortals as lamentably stupid, all of us.
Poor stupid animals still floundering in
archaic morasses, living the legends of
the Dark Ages, not living life as it really
is today. We're beginning to fumble a
little with the bandages over our eyes, the
hypocrisies that are on our lips. But what
strides remain to be taken !"
ALL of which oration, on the part of
Mr. Owen, sprang, full-fledged, from
a question I had asked. For I had said to
this tall Englishman who has so often
played sadists dealing out creeps and
crawls and spinal shudders — I had asked
him, "Which are you? Who are you?"
My question was prompted not only by
the sadist in Reginald Owen's portrayals.
I'd been thinking of the gamut this man
has run, scoring every time whether as
sadist, fool, charlatan, diplomat, lover, or
rogue. What wonder then that I asked,
"Which are you?"
Reginald Owen seldom plays without
make-up, but seldom does anyone realize
that he is in make-up. With such cruel
verisimilitude does he etch his characters
that one doesn't pause to consider whether
he is "made up" or not. Behind whiskers
and scars, eye glasses and grease paint
trickeries he has given us a never to be
forgotten gallery, all the more remarkable
because no one has ever realized his amaz-
ing make-ups.
So I asked, legitimately, "Which are
you, Mr. Owen? Madman? Fool? Kindly
English gentleman? Clever prestidigitator,
"playing parts?" Every man has a major
chord in his nature. What is yours?"
Mr. Owen, looking younger than he
appears on the screen, kindly, with bright
blue eyes, tanned skin, easy, delightful
manner, only his mouth twisted now and
again into a tolerant cynicism, answered
96
MODERN SCREEN
Try your luck nt winning n cnsh prize. Whnt do you
hnve to sny nbout the stnrs and the movies you see?
Lewis Stone deserves to be
showered with everything good
says a devoted admirer from
Tennessee.
Lewis Stone for the continued excellence
of his screen portrayals.
For fully a dozen years (perhaps longer),
Lewis Stone has been portraying fine old
gray-haired gentlemen — lawyers, doctors,
judges — and each portrayal has been a
masterpiece. But do you ever hear of his
being nominated for an Academy support-
ing role award? No. Yet, this fine actor
goes right along giving the same fine, com-
petent performances that he has given for
years.
Perhaps Mr. Stone may never have an
"Oscar" to stand upon his mantelpiece, but
in the hearts of the movie audience there
is an "Oscar" that is not made of _ cold,
hard gold, but of warm, tender affection. —
T. N. Pappas, Memphis, Tenn.
$1.00 Prize Letter
Realism
I went to the show the other night to
enjoy a pleasant evening. Did I say
pleasant? Pardon me, I meant unpleasant.
I entered the show with a good bar of
candy, the usher found me a comfortable
seat, and I relaxed. After a hectic day
catering to the whims of fussy customers,
I had, at last, found complete relaxation.
But just a minute — wasn't that my hand-
some Robert Young dying up there on the
screen. Oh well, Robert Taylor and Mar-
garet Sullavan were the . stars and they
were still alive. The show continued. The
end came. Alas, fatal climax, and Maggie
was drooping nobly out of the picture. The
show was finished. I sauntered homeward.
Happy ? No ! Were any of the others in
the audience. No !
We insignificant proletariats work all
day in the humid heat of city buildings, in
crowded department stores, everywhere.
We, in this category must live in dreams
with our heads in the clouds to live through
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ
ten by the fans and for them
Make your letter or poem brief
Remember, too. that your con
tributions must be original
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; two
second prizes of $2 each; six
prizes of $1 each. Address:
Between You 'n' Me, 149 Madi-
son Ave., New York, New York.
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101
MODERN SCREEN
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these days of depression. We are not all
intelligentsia acquainted with the classic
romances of the centuries, nor do we find
consolation in the beauty of Milton's, and
Wordsworth's works. Ours is a dull exis-
tence but for the Cinderella stories that
flash on the screen. We walk home from
a theatre completely ecstatic in the thought
that what has happened to Joan Crawford
in that film might happen to us,^ and so we
starved romanticists pray and live.
A show like "Three Comrades," where
the protagonist has been dealt an unkindly
blow from life — this is wrong. We
who attend the shows may not need jobs,
but we do need dreams. What America
needs today is not the proverbial good five-
cent cigar, but more fairy tales from
Hollywood with the popular "they lived
happily ever after" ending. — V. Kougias,
New Bedford, Mass.
$1.00 Prize Letter
Then, Again —
Let us have more pictures like "Three
Comrades." The superior acting, the
touching story, the excellent photography
all help to create one of the most human
and pathetic stories of the year. Three
cheers to Miss SuUavan for her perfect
portrayal of the tragic wife of one of the
comrades.
I, for one, hope that pictures produced
in the future will measure up to the stand-
ard set by "Three Comrades". — B. Well-
mann, Sparks, Nev.
$1.00 Prize Letter
Teen-age Stars
A few years ago, child stars faced the
future with dread because of the abrupt
endings which had always come to the
careers of child stars when they reached
the teen-age. And for what reason? No
one seems to know — unless some past
movie-mogul decided that they would not
appeal to the public as they passed through
adolescence.
Lucky for Rooney, Durbin, etc., and
lucky for the movie-goers that Hollywood
has at last allowed these stars to stay on
the screen during the transition from child
to adult. What a world of entertainment
has been found for the movie-going public.
What would the screen be without Judy
Garland, Freddy Bartholomew and the
afore-mentioned Durbin and Rooney?
Look what a come-back Jackie Cooper has
made since "Boy of the Streets !"
I for one, am happy that Hollywood has
finally discovered this new field of enter-
tainment for us to enjoy. I am sure there
are many others who are with me on that.
— J. C. Treuden, Milwaukee, Wis.
$1.00 Prize Poem
To Wallace Beery
You haven't got glamor
Nor "looks" (It's the truth).
You haven't a figure.
You haven't got youth.
But, boy, can you act?
You're the best of the lot.
What any part calls for
Is just what you've got.
Your grin brings a laugh
Or it makes the tears come.
You bleary-eyed, no-account,
Lovable bum.
Years come and years go.
New stars rise and fall
But still you continue
"The Champ" of them all.
— L. P. Roberts, Salt Lake City, Utah.
GOOD NEWS
{Continued from page 66")
Hearts and Flowers : Last month's
new romance involving George Brent and
Merle Oberon is still in full bloom, with
indications that it will continue. And now
the newest twosome around town is
Tyrone Power and Annabella. He squired
her to the "Marie Antoinette" premiere,
and they've been out together several
times since.
•
Joan Bennett is taking singing lessons
from Al Siegel, who once coached Ethel
Merman and Gertrude Niesen. So far no one
knows whether she plans to sing the blues
in some future film or whether, a la Joan
Crawford, she hopes one day to be an
opera singer. If this sort of thing keeps on,
some of the opera stars now in pictures will
have to reverse the process- — and spend
some time learning to act.
•
The other day we ran across a list of
the Big Ten Western Stars — a poll taken
by motion picture exhibitors — which names
the top ten cowboy stars in the order of
their popularity with the men who sell
the tickets. The list, according to their
ranking, is : Gene Autry, Bill Boyd, Buck
Jones, Dick Foran, George O'Brien, Tex
Ritter, Bob Steele, The Three Mesqui-
teers, Charles Starrett and Ken Maynard.
•
Unknowns in Hollywood We'd Hate to Be:
The guy who fired Deanna Durbin because
she had no future. . . . The man who mixes
the cement the celebrities plant their foot-
prints in at Grauman's Chinese. . . . The
Ritz sisters, if any. . . . Sigrid Gurie's ex-
husband. . . . The Count di Frasso.
Lionel Stander lives in style with a
colored maid and man to serve him in his
Hollywood apartment. The colored maid
and man also live in style, she wearing
evening dresses with aprons tied on around
the house and the boy wearing golf knick-
ers and Lionel's cast-off sweaters.
When Tyrone Power was doing the Little
Theatre circuit around here several years
ago, before he broke into pictures, he made
a lot of friends. Some of them are now at
the University of California at Los Angeles,
where they are members of Delta Key. men's
dramatic society. Tyrone hasn't forgotten
his old friendships, for he belongs to the so-
ciety, attends as many meetings as possible,
and helps sponsor their shows. All of which
is unusual in Hollywood, where old friends
generally become former friends.
Winning the Academy Award may have
added to his prestige in other locales, but
out in San Fernando Valley, Spencer
Tracy has always rated tops with the
press. The tip-off is that the drama editor
of the "San Fernando News" is a young
journalist named John Tracy, who is
Spence's son. {Continued on page 114)
102
MODERN SCREEN
HE WHO GOT SLAPPED
(Continued from page 41)
success and lets that success speak for
itself. He wears a coat of many colors
and wears it modestly. "Jekyll and Hyde,"
"Death Takes a Holiday," "Anthony
Adverse," "A Star Is Born," "The Buc-
caneers," "Nothing Sacred" — he weaves
the splendid stripes of his versatility into
a pattern of colors which do not fade.
So many successes might have made
for spoiling. But no. When his dream
took a floppo he arid Florence and Di-
rector John Cromwell took page ads in
various newspapers and in Time magazine.
And that little cartoon, with one aerialist
figure catapulting to the ground, the single
caption, "Ooops — sorry!" signed Florence
Eldridge, Fredric March and John Crom-
well did more to win admiration for
Freddie et al than even a year's run on
Broadway could have done.
So many letters came to them after
that gallant gesture that they could not
possibly answer them all. So, Freddie
told me, they had black bordered cards
printed, mourning cards, bearing some
such inscription as "Florence and Fredric
March wish to express appreciation for
your sympathy" — and that was that. The
Marches stole a march on admiration.
And failure was success.
He could have made sensational copy of
his illness. He could have laid the blame "
for the play's failure to the fact that he
was, on that stage, nearer to death than
to the footlights. For when Freddie
walked onto the stage that opening night
he was the sickest man outside any hos-
pital. He had, in fact, just come out of
a hospital — and many days too soon. But
he didn't make capital of it. He didn't
use it as an alibi. He told me "people
were paying their money to see an actor,
not a clinical exhibit of hemolytic strep-
tococcus."
If you will check on hemolytic strep
you will realize that Freddie was taking
a holiday with Death.
Y'ES, folks, hand it to the contenders
who can take the count of nine, get up,
a grin on their faces and go after it
again. And that is exactly what Flor-
ence and Freddie intend to do, go after
it again. Every year they will return
to New York, to do a play, no matter how
long it takes before the critics bring laurels
instead of thorns.
Freddie and Florence and I were sit-
ting in the green Venetian-blind-shaded
living-room of their French Provincial
house in Holmby Hills. When I had
first come in, at tea-time, I'd heard the
tentative tinkling of piano keys. A child's
hand, I'd thought, practising the good old
scales. But no. For presently Florence
had appeared from the next room, greeted
me with a sheepish smile and said, "I
was practising. Penny and I are taking
piano lessons."
Freddie had come in at that moment
(from the dentist) and said, as he pulled
Florence onto his lap, "D'you know why
Florence has gone back to practising
scales ? Because our young daughter said
to her the other day 'Mommie, when I
grow up I'm going to be the kind of a
Mommie who can play the piano for her
little girl!' Florence couldn't bear the im-
plicit reproach in this remark, so she has
started taking pianny lessons again. Soon
now we will be able to gather around the
piano. Penny, Tony and I singing 'Old
Black Joe' and 'Oh, Susannah!' while
Mommie plays for us."
"And don't think we won't," laughed
Florence. "Now I am going to take
a nap. Unhand me, villain. But don't
say anything interesting until I get out
of the room. I might not be able to tear
myself away." And she fled.
Freddie called after her, "Hold up the
prayers until I come upstairs, huh?" He
explained to me, "I always have to hear
the kids say their prayers. I've cut many
a picture scene short so I'd get home in
time. But now that the babies and Flor-
ence have all gone to bed, as it were, I'll
tell you what little Fredric has learned
since they buried him.
"You asked whether Hollywood spoils
us, softens us with too much easy success.
I don't think so. Because the minute you
get out of Hollywood, try some other
medium, you are face to face with a
startling fact: They resent us. The in-
stant we step off the screen they say, 'I
dare you !' and 'Who the hell do you think
you are?' So if you've been thinking
that you were pretty much the tops you
are immediately and ferociously disabused
of that pretty notion.
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104
"I realize now that success in Holly-
wood doesn't mean success anywhere else,
in any other medium. Quite the contrary.
Hollywood handicaps you. It's a funny
thing, too, when you think of the fan
letters we all get, the autograph seekers,
the seemingly irrefutable evidence that we
are gelatine gods of heroic proportions.
It's a funny thing to find that god, you
thought you were, torn down from his
pedestal and trampled in the mud.
"They resent us," said Freddie, his dark
eyes still slightly incredulous, "especially
in the big cities. Of course in the cities,
even in New York, the theatre balconies
are usually filled with fans who want to
see a movie actor in the flesh. But with the
orchestra, the intelligentsia, for want of
a better word, it's not so easy.
"You can't blame them. You can't blame
a writer getting, say, fifty dollars a week
for stuff that it takes brains -to do, look-
ing at a movie actor fresh out of Holly-
wood, and saying, 'Who does that smart
guy think he is? Maybe he does make
a lot of dough in Hollywood, but he
needn't think that means he will make the
grade with us.' "
"The kind of criticism we got," said
Freddie, completely without rancor, "proved
to us that we were facing a complex prob-
lem. The critics said that I 'roistered
about' in the play so as to appeal to my
fan audience. They then said that I
'dragged in' Addison and Steele to demon-
strate to the intelligentsia how intellectual
I can be. When I wore a wig, as I did
in the play, the fans didn't like it. When,
in one scene, I tried the experiment of
taking the wig off and appearing as I am,
the fans cheered, but those in the orchestra
raised slightly scornful eyebrows. 'Show-
ing off, eh?' they seemed to say. When
I'd stop and sign autographs in New York,
part of the crowd would be muttering,
'Doing your movie actor stuff for us, are
you?' When I ducked out of back doors
to avoid signing autographs, John Public
said that I was ritzing him. Either way,
I was wrong.
"It's a funny prejudice, because it isn't
consistent with the reactions we get from
our screen work. Before I did the play
I didn't know that this prejudice existed.
Now I know what I've got to fight.
"We can do fine things in the theatre, we
who come from Hollywood. But I realize
now that it will take much longer than if
we did not come from Hollywood. That
is what I meant when I said that success
can be failure. For I have learned that
Hollywood success, the most sensational
kind in the world, call be failure else-
where. Picture people are resented. That's
one of the lessons I've learned."
I said, "Did it disillusion you?"
"In a way," admitted Freddie, with the
customary March candor. "Not because
they panned the play, or me, or Florence
(though they were kinder to her) or
John Cromwell who directed us. It wasn't
a very good play, granted. It was a
mistake to do a costume play. But it was
the zvay they panned us. For instance,"
laughed Freddie, "they said that Crom-
well had directed Dietrich's legs, Temple's
curls, Gable's ears, Mae West's figure, and
was now directing the Marches ! That
kind of thing. Funny, I know, but the
barbs were certainly poisoned.
BUT what I mean is that, while they
were justified in panning the play, they
might have given us credit for loving the
theatre. They might have recognized that
we do love the theatre or we wouldn't
have put our own money into a play.
"People say to me, 'Why do you want
to go back to the theatre? Why don't you
stay in Hollywood? Why aren't you sat-
isfied where you are?'
"I can only answer by saying, 'Because
I love the theatre.' We also enjoy being
in New York for part of each year. We
love the music we hear there. We love
the people there. We like the children to
go to an Eastern school. Besides, I get
tired of seeing myself on the screen too
often. I should think that other people
would get tired too. I feel that two pictures
a year are enough. I am free lancing, you
know. I don't even have commitments
ahead. Two pictures a year ought to be
the solution.
"I'm doing 'There Goes My Heart'
now. The studio wired me about it when
we were East. I liked the story. I
liked the idea of being directed by Norman
McLeod who did 'Topper' and 'Merrily
We Live.' I liked the idea of working
again with Carole Lombard, as was
originally planned. That plan didn't work
Five pretty gals from "Girls' School." Left to right, Martha O'Driscoll,
Peggy Moron, Marjorie Deane, Marjorie Lord and Jean Lucius.
MODERN SCREEN
out and now Virginia Bruce and I are
playing together. I like that, too.
"I am not 'tired of Hollywood,' as I
read in the papers. I am not planning to
sell our home here so that we can shake
the last mote of Hollywood dust from our
feet. We may sell this house so that we
can buy a ranch in the San Fernando
Valley, because we do intend to spend
part of each year in the East, to do a
play there whenever possible. Such
being the plan, we feel that it would be
better for the children to live on a ranch
in the summers, a place where they can
have cows and pigs and things.
"I want to do something different now
and then. I want Florence to have her
job again. But wanting the theatre has
nothing to do with a dislike of, Hollywood.
The two have nothing in common. I be-
lieve that the slogan "Stage versus Screen"
has been misleading. It isn't Stage versus
Screen. It is Stage and Screen. The two
are diametrically opposed. They have
nothing in common except some of the
actors. The Rocky Mountains divides
them geographically. Great mountains and
chasms divide them spiritually, too, and
physically.
HOLLYWOOD is kinder than Broad-
way," said Freddie. "I'll certainly say
that for it. Out here we receive a Helen
Hayes, a Katharine Cornell with open
arms. We don't say, 'Who the hell does
she think she is ?' "
"I knovif," I said. "Look what they did
to Walter Huston in New York, to Leslie
Howard, Katharine Hepburn. And Miriam
Hopkins wasn't exactly acclaimed as a
new Bernhardt."
"The inference seems to be," said
Freddie, "that if you 'come from' Holly-
wood nothing but Hollywood can be ex-
pected of you. But great scott, Huston
isn't originally a screen actor. He is of
and from the theatre. Ditto, Leslie How-
ard. And if you want screen actors who
have scored on Broadway look at Frances
Farmer, - Zorina, Paul Lukas, all having
made very definite hits on the New York
stage. It can be done. But Hollywood
doesn't pave the way for you."
The shades of night were falling fast.
Over our heads came the suggestive patter
of little feet. Soon, now. Penny and Tony
would be saying their prayers, Mommie's
sleek head bowed on one side of the bed,
Freddie's dark head on the other. Freddie
offered to drive me home. On the way
out he paused at the hall table to show me
the contents of some little packages.
"Next week," he explained, "we celebrate
our eleventh wedding anniversary. Among
other things I always give Florence a
charm for her bracelet. Each charm is
supposed to represent one of my pictures.
For instance, for 'The Royal Family' I
gave her a tiny gold English crown. For
'The Buccaneer' a tiny gold treasure
chest. When I made 'A Star Is Born' I
couldn't think of anything better than a
miniature gold trailer, so I got that. For
'Nothing Sacred' well, I'd rather not tell
you what I got for that ! This is for
'There Goes My Heart.' " Freddie
held up a tiny gold heart with running
legs spouting from it, the inscription on it,
"Home, James." "Then," he said, "I just
bought these squirrelly things." And he
spread out before me an array of ornate
anniversary cards bearing such inscrip-
tions as "Anniversary Congratulations To
A Mighty Fine Couple," and "Good
Wishes To You On Your Golden Anni-
versary."
"It's a lot of fun," laughed Freddie.
"It's all a lot of fun — marriage and kids,
home and books, music and games and
people. Hollywood, the theatre, a
lollipop now and then for being good —
even a spanking where it hurts the most."
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the inanana atmosphere of CaHfornia."
Then her New York agent's western
office suggested that Gale see the^ director
about playing the evil wife in "Anthony
Adverse." All that is history now. Gale
saw the director, got the role, and won
the Academy Award on her very excellent
performance.
After that Hollywood was a paper-shell
nut for Gale Sondergaard to crack. But
the road to fame had not always been
rose strewn. At the beginning Gale's
path was rough and rocky. Her first
disappointment came when she tried out
for the lead in "A Thousand Years Ago"
in high school, only to lose it to a girl
who was the leading man's sweetheart.
But she appeared in other school plays,
went on to a dramatic school, and soon
felt that she was ready for the theatre.
TO a Minneapolis fledgling Chicago
seemed the ideal metropolis in which to
launch a theatrical career. But durmg
three months of stage door knocking Gale
heard "no" said a dozen different ways.
It was during those days that she de-
termined to accept anything she was of-
fered in the theatre. Never would she
turn down a part, even if it was the most
miserable walk-on.
"Finally," says Gale, "I heard about a
shoe-string troupe, Chautauqua circuit,
you know, that did plays wherever there
was a shelter — even under canvas. There
was no salary attached to the undertaking,
just coffee and cakes. But it was experi-
ence 1 When we stranded on the coast I
hooked up with a Shakespearean repertory
company, just about a step above the tent
show. I played everything from Desde-
mona to all three witches in 'Macbeth'."
A year in stock with Jessie Bonstelle
prepared Gale for the lead in "Strange
Interlude" with the Guild's touring com-
pany. Following this her talents were
employed in various strays which for one
reason or another folded up almost as
soon as they opened.
The only advice Miss Sondergaard would
venture to stage and movie-struck youth
is this: get a job in the theatre anywhere,
doing anything, from scene-shifting to
off-stage noises. Some day someone will
fail to appear and you'll get your chance.
If you're good you'll go on finding more
important things, gradually working up
to real parts. But you will require lots
of stamina, she warns. You will need a
stout order of perseverance, and luck too.
While breaking into the theatre Gale
wrote home for money only once, she
told me proudly. Between engagements
in New York she served as a typist, sold
hats in a department store, and acted as
receptionist in an advertising agency. And
in all her buffeting to and fro from cast-
ing office to stage door and back to agent,
seeking parts or bits or even walk-ons,
she never encountered the sinister figure,
so often portrayed in fiction, who wanted
her to barter her soul for a big part.
In making the transition from stage to
screen many actors have registered com-
plaints about the difficulty of stepping into
a scene "cold" and doing it justice, actmg
the climax first, perhaps, and then per-
forming such piecemeal histrionics as the
screen requires. ^
"These things don't bother me at all,'
said Gale. "When I am assigned a part,
the first thing I do is to read the whole
script in order to determine just what
sort of a person I'm supposed to be in
relation to the other people in the story.
Then I plan the whole part in my mmd,
scene by scene. When I'm through lay-
ing the groundwork I have it so definitely
set that when I'm called on to do any
part of it, it all seems natural and easy.
"After all, rehearsals on the stage
amount to the same thing. You go over
and over the play until you have it pat.
It would be simple to play any scene by
itself. Acting is not inspiration, it's tech-
nique. You need experience, intelligence
and an overwhelming desire to get the
most you can out of what the author has
given you."
Sondergaard looks highly explosive, but
she claims that her only concession to tem-
perament is when a^ carefully rehearsed
scene goes askew before the cameras.
When lights flicker, sound falters, film
buckles or some evil spirit causes her to
blow up in her lines, then Gale explodes
dramatically. She thinks that in such
cases temper is a very good safety valve
for the nerves.
She talks in a positive manner, express-
ing herself intelligently and at the same
time forcefully, without recourse to slang
or even polite profanity. She permits her-
self no half-baked sentences, no false starts
ending in the air. It is apparent that
before Gale ventures a statement she has
formulated it in her mind, decided upon
a complete opinion.
"I've been lucky in appearing m only
grade A productions that haven't been
hurried or skimped in any way," she said.
"Then, too, I've been fortunate in my
directors. Frank Lloyd is a fine scholar.
Mervyn Leroy is original and dynamic.
Dieterle is one of the most artistic souls
in Hollywood, a careful, painstaking
worker, as conscientious as a monk. And
Sam Wood is another artist."
Gale Sondergaard is arresting m her
poise, intense in her reactions. She lives
at high tension. Her enthusiasm is con-
tagious. And when she sets her mmd on
anything she has the force to sweep you
along with her. Miss Sondergaard is sold
on California, and pictures, and has no
thought of returning to Broadway. She
has a quiet, pleasant home, away from the
harried social rush, and she is content.
Gale has hit her stride, and enjoys her
work. It's a demanding medium, the
screen but a challenging one. To Gale
Sondergaard each part is a fascinating new
problem. She doesn't know what her next
picture-problem will be, but she's eager
to start solving it!
Solution to Puzzle on Page 74
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MODERN SCREEN
COOL WEATHER BEAUTY FORECAST
(Continued from page 49)
fure (worn by Mrs. Gotrocks) that would
take a million hairpins and two hours' time
to arrange, and stick to the becoming bob,
swirled across the back and just one flat
curl here and here, please. You've got some-
thing there when you stick to your exercises
and eat sensibly, and anoint your face and
neck with tissue cream at night, when the
first cold winds come, and give your nails
a thorough manicure once a week and two
minutes' attention every day. And what else
can you do to get the most fun out of life
this winter? Let's see.
A lot of clothes chatter is going to creep
into this opus, but never mind. It's all part
of the good looks game, isn't it ? In a way,
fall can make one feel awfully poor. If you
haven't a generous clothes budget, the an-
nual problem of what to do about good
looking cold weather attire can be depressing.
But again, take cheer, for cold weather
clothes are lots easier to wear, much kinder
to figure faults than chiffons, shorts and
bathing suits.
None of us can afford such luxury as the
ermine pelts which wrap up Danielle Darrieux
on page forty-nine. Said picture was chosen
purely because it was so pretty, girls, and
not to put ideas into anybody's head. But
lapin can be flattering as ermine, and kid-
skin, pony and a dozen of what I call the
"make believe" furs are smart, warm and
they wear well.
'While we're on the subject, don't discard
or give to the poor any small pieces of good
fur. Have yourself a tippet made, or put a
strip of fur on a velvet toque type of hat, or
band the sleeves of a dark velvet afternoon
dress or hostess gown with it. Have a muff,
or even cuffs of fur on a good looking pair
of gauntlet gloves.
A perennially clever idea when it comes to
that awfully expensive item, the winter coat,
is to get a plain, collarless affair — very plain
but meticulously fitted, preferably black.
Then dress it up with various tricks as long
as your money holds out. Gay home-spun
scarves. Vivid silk ones. Buy one and a half
yards of that very wide, quite expensive silk
ribbon which you always see on display on
the first floors of department stores and
which nobody ever seems to be buying.
Hand-roll or fringe the ends and tie it in
one loop or in Ascot fashion.
Then, other times, use the made-over fur
tippet or your good fur piece, if you're
lucky enough to own one. Perhaps there are
Virginia Bruce and hubby, J- Walter
Ruben, said they'd think it over, but
the cameraman went ahead and
clicked, regardless.
enough good pieces in that old fur coat to
make a cape to wear over the plain, good
coat. But remember, no fur is better than
cheap fur. If you can't squeeze out enough
cash for something good, stick to gay silk
and wool dresser-uppers.
Make your clever brains and the wonder-
ful art of taking pains compensate for a
limited amount of dough.
Still more about clothes is coming, I fear
me, but let me follow up my little tip on
coats with a sound, sensible beauty tip : Keep
warm enough. "Huh," says you, "what's
that got to do with beauty?" Puh-lenty.
Young things the world over sacrifice warmth
to pride. Doncha do it. And you needn't
bundle up in red flannels as they did in
grandma's day, either. But you can wear
woolen pants. And take vitamin pills if you
suffer from the cold. And wear those extra
feet under your stockings if your feet get
cold. Furthermore, wear lisle or silk and
wool stockings for daytime — they're smart
and save the silk stocking bill. And keep up
your pep and coax roses into your cheeks
by making sure there's enough iron and
protein in your diet.
FOR example, if you include the follow-
ing items in each day's diet, you're safe
on the iron and protein side. A medium
serving of a green vegetable — the canned
are as good as the fresh. A medium serv-
ing of meat. One egg. Two slices of
wholewheat bread (toasted very crisp for
the overweights). Four ounces (about half
a water glass) of tomato juice or orange
juice. And, for the underweight, a dish of
cooked cereal.
Stewed prunes and stewed apricots are
dandy iron-givers, too. Aside from the cereal,
the above foods should be in the average
overweight's diet, while the underweights
should tuck in, also, milk, cream, butter,
cheese, and enough sugar to make things
taste good, as well as light, nourishing des-
serts.
Another cold weather beauty tip — about
hands, which should be a mark of beauty
and often are not. Do your hands get red?
Make you self-conscious? Enough daily ex-
ercise will improve your circulation and help
check the coldness and redness of hands.
Don't wear tight gloves or tight sleeves. And
give your hands lavish slatherings of cream.
By the way, one of the old-fashioned rem-
edies which is supposed to be so fine, and
which really isn't much good at all, is rose
water and glycerin for the hands and skin
generally. It cloes feel good, but if your skin
is badly roughened and reddened, it won't
help. You need a rich, oily cream. Do your
hands up in the cream at night and wear a
pair of old fabric gloves to bed.
And if, after doing all these things, your
hands get red from nervousness just when
you want to look your best, try the stunt of
holding them up — rest your elbows on some-
thing and hold the hands up for a while. It
helps. I used to suffer from this embarrassing
business when I was a young thing. And
somebody told me about that.
And then, to add a little zest and zip to
life for a small financial outlay, have all the
shades of nail polish on the market. Change
your nail polish often. The advertisements,
dished up by experts, tell you just exactly
as well as I could, probably better, what
shades look best with what colors. Have all
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thru the shrimps and the dusty roses, on to
the deep reds, and have fun keeping your
nails in the most exquisitely groomed manner
all winter.
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WEEK'S SUPPLY
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win your share of laurels for beauty and
chic, even though you can't dash out and
buy everything you want, learn to be an
individualist — to be different. This takes taste
and time and study, sure, or you may end
up merely being odd or arty or freakish. But
I was mulHng over in the mind about all
these Up hairdos and thinking, dawgunnit,
if the good old long bob wasn't about the
easiest, most becoming affair to almost
everybody. Not the page boy, dear no. That
was just extreme enough for us all to get a
little tired of it.
But take Connie Bennett, now. She may
have altered her disposition lately, but no-
body has been able to change her hair style.
Connie knows she looks best with a long
bob, because she has a wide jaw — very char-
acter-ful and all that, but not the kind of
jaw to top with a high coiffure. Hers is a
little overlong for everyday folks, but you
could take off an inch or maybe a little more
than that and have your practical long bob
this winter, if such a style is the most be-
coming to you.
Or, if you're real smart, get a haircut and
a permanent which can be either up or down,
as suits the occasion. If you have access to a
good hair artist, this is a fine solution of the
hair problem. Do remember, though, when
it is down, it mustn't be too much becurled
and flopping around. Just soft and flattering.
And don't let it get too thick and bunchy.
Make it shine, every hair of it, with plenty
of brushwork.
A word about hats here. They tell me hats
are going to be more sensible. Swell. But
please don't rush out and buy one of the
first fall or winter models. I'll tell you why.
Manufacturers purposely put "freaks" on the
market for the early trade. These freaks are
designed to trip the girl who simply can't
wait to throw her money away on something
new.
The classic example of this was the Eugenie
hat which, you'll remember, flooded the
market in late summer. By Labor Day, no-
body who was anybody would be caught
dead in one. If you must have a new bonnet
right away, buy a conservative felt sports
model and wait a good solid month before
you waste your allowance or salary on any-
thing else.
ONE more word about clothes, and then
I'll stick to my beauty business. How
are you going to get nice winter dresses for a
reasonable sum when, as I say, the shops and
advertisements are going to be full of pit-
falls, cheap copies of really beautiful original
models which cost plenty and which can't be
copied for the average trade. These are
skimpy as to seam, shoddy as to material,
with stitching that would be all right on a
tent and fasteners that fall off the minute
you look at them.
Yuh gotta learn to be your own fashion
expert. Learn to know values. (1) Look for
a label with a nationally advertised name on
it. (2) On sheer materials, look for French
seams or bound seams. On heavy materials,
look for pinked seams. (3) If you have no
access to good stores, get a couple of good
fashion magazines and go thru the ads. You'll
see a dress you like — simple, but nice, with
a httle touch of detail that pleases you.
Very often, at the bottom of the page, you'll
find a list of stores which carry this model.
Order by size from the store in the city
nearest to you.
(4) It is awfully hard to make a good
choice sometimes. You can't find what you
want for the money, or some smart sales gal
gets hold of you and you find yourself with
some awful thing, and you've simply got to
wear it. Well, try cutting pictures out of
magazines. If you like the two piece outfit
Phyllis Brooks has on, for example, snip it
out and go off on a shopping tour untO you
find its near-duplicate. (Don't wear a chin
strap on ye hat, by the way, unless you're
as pretty as Phyllis, and you really should
be under twenty-two.)
(5) Don't wear knits if you're heavy in
any spot, and particularly if you're large in
the buzzom. Remember in buying sweaters
and knit goods generally that it's well to buy
a size larger than you usually wear. If you're
a big girl, several sizes larger. I wear an
eighteen — I buy sweaters size forty and do
I have a time finding them !
(6) When it comes to formal and semi-
formal things, be uffly, uffly careful. You'll
be tempted by the dream dresses, yards and
yards of skirt, daring decolletages, and so
on. Or the very, very sculptured, slinky
numbers. Maybe you will be able to find a
good buy in one of these more glamorous
styles. If so, fine. But if not, remember that
the simple, well fitted black dinner dress
can't be beat and can be found for a rizzon-
able sum. Remember also that the simple
evening gown, in a color that does the most
for you, won't bore you and everybody else
if you have to wear it more than once.
SINCE styles remain pretty form-fitting,
it will make you all happier if your
figures are better than passable. Concentrate
on the waistline. The firm waistHne is the
mark of youth. You "older" girls and you
women who no longer count the birthdays —
try this limberer and slimmer-down of waist-
lines: sit on the floor, your legs straight out,
feet about ten inches apart. Twist your body
to the left and bend over as far as you can
toward the floor. Up, turn to the right and
bend again. It isn't strenuous and you can
do it as many times as you like right at the
start. As you gain proficiency, twist your
body more and more, without letting hip or
leg up off the floor. It will do the trick.
It's so much easier to exercise in cold
weather — why don't you start today and
really keep it up faithfully this time? Some-
times a cute special costume will help you
get into the proper frame of mind. Or how
about going to a gym? Or if there just ain't
any gym, get a girl friend to do exercises
with you every day. See how much fun it
is for Ann Rutherford and Virginia Grey
when they do their daily dozen together.
Anyhoo, exercise — the fat to get slim, the
thin to relax, the good figures to keep their
beauty.
And now, how about achieving one of
those "Grande Toilette" affairs for yourself,
in a simple sort of way, for your next im-
portant date or party? Sure, you can do
it. You may need a little help, but it can
be done. It begins with a bath — a really
de luxe bath. Perfume, toilet water, one of
those delicately scented packages of starch,
bath salts, or some of that essence that
bubbles and foams and makes you feel so
very, very something-or-other — put one or
the other of these into your tub. Cleanse
your face and neck first, put tissue cream on
it, and then you sit. And sit.
If you have one of those little bath trays,
arrange your manicure things on it. If not,
the old chair or stool alongside the tub will
do. Then putter with your nails, being par-
ticularly solicitous of the cuticle. Leave the
polish until later. Your hair is tied up in a
net or something. When you get darn good
and ready, you get up out of the tub. You'll
be very careful about drying, giving par-
ticular attention to upper arms and elbows,
so they'll be soft and afluring. You spray
on toilet water. You go and lie down, with
pads of cotton soaked in witch hazel or eye
bath over your eyes. You relax, with your
feet on a pOlow to rest them.
In fifteen minutes, get into your founda-
tion, pants, stockings and bra and call some-
one to come help you. Sister. Mama.
Husband — if he's nice about such things.
Girl friend. You have a bottle of really
good foundation cream in the shade that
does the most for your skin. This is going,
not only on the face, but on the neck, the
arms, and as far down the back and the
front as is is going to show. It is going on
108
MODERN SCREEN
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Help Kidneys
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don't rely on ordinary medicines. Fight such troubles with
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and be exactly the medicine you need or money back is
guaranteed. Telephone your druggist for Cystex (Siss-tex)
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smoothly, blended carefully, and when it
dries, powder is patted over it. Surplus is
dusted away, so that you don't "come off''
on somebody's dinner jacket.
Then go on making up as usual, but with
particular pains. A bit of cream, vaseline
or oil is rubbed into your eyelids to give that
glamor look. A bit, too, into your hps be-
fore and after the lipstick goes on, for extra
sex appeal. Maybe two coats of mascara,
with careful brushing with a dry brush after-
wards, will do a lot for you.
After you're all dolled up, get away from
the mirror and stop fussing, and smoke a
cigarette or have a cup of tea, or read a
little. Let that make-up "set" in other
words. Then go back and look at it care-
fully and see if you're all right, or have put
on too much or too little. Get into your
gown and put a towel or something around
your shoulders and untie the net from your
hair and give it the attention it needs. Don't
try any last minute inspirations on the hair.
You've had it "done". Now leave it alone,
except for a little pushing and softening of
the wave, perhaps, and an artful pin here
and there. Put a little perfume behind your
ears, along your hairline, and in the hollow
of your neck — and if your hair is up, in the
nape of your neck. Be ready when he calls.
Be ready five minutes ahead of time so that
you can just sit again and feel all wonder-
fully clean and dainty and exquisitely coiffed
and gowned and groomed. You're going to
have a wonderful time tonight.
LITTLE LORD
FAUNTLEROY
( Continued from page 50)
body claps politely and then forgets it.
But Freddie began on that immortal
speech of Portia's, "The quality of mercy
is not strained . . ." The gathering, many
of them actors of note in Hollywood, sat
up at the first few words. Here was no
child stringing words together by rote.
Beneath the words, they sensed at once an
adult understanding of the words as well
as the thought.
"It droppeth as the gentle rain from
heaven . . ." Freddie went on. His voice
thickened. And suddenly, in the midst of
it, he began to cry ! Tears rolled down his
cheeks. He couldn't go on. He couldn't
finish ! There was no kindly applause for
him as he hurried to a corner seat and
wept. There was a hushed silence, as
though every one there had seen and sensed
something too deep for superficial ap-
plause or chatter. They had realized that
here, in the mind of this fourteen-year-old
child, lay a fully-developed, ulti'a-adult
understanding of Shakespeare's depth that
was beyond the capacity of many a grown-
up ! In short, Freddie was not reciting
words strung together by rote and repeti-
tion. He was being Portia in those brief
but intensely real moments.
And there, probably, is the fundamental
explanation of Freddie's sensational screen
success. Other child actors are told what
to do and say, and how, and like nice
little automatons, they do it. But Freddie
is like a grown-up actor. He does it
from deep inside.
"On exhibition," Freddie carries this
same trait into his off-stage activities. By
"on exhibition," I mean those times when
Freddie is being interviewed, or is being
watched by a group of studio visitors, or
even when he's out socially with grown-up
people in Hollywood. At those times,
Freddie is the pluperfect little English gen-
tleman. He parades a vocabulary and a
nicety of diction that makes people marvel
and then wonder if he isn't perhaps a con-
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110
ceited, insufferable little prig !
When you see him putting on that
grown-up act of his, you rather imagine
that Freddie must be a boresome little
lad, full of his own importance and with
a nose turned skyward.
But that's because you're only watching
the professional Freddie. Now let me tell
you a few stories about the real Freddie,
who comes out from behind his grown-up
front when all's clear, and who is really a
fascinatingly likable kid.
ALL that varnished dignity drops. Even
a great deal of his extreme British-
ness rubs off. They're trying to preserve it,
heaven knows, and they've even gone to
the length of hiring an ultra-British teach-
er to keep him talking in the British
fashion. But inevitably, Americanisms
have crept into his speech. He can say
"scram" and "gimme" and "nuts" with
the same explosive effect as Mickey
Rooney. Mickey, in fact, is one of his best
pals. You can draw your own conclusions.
Even the star-spangled American term
"chisel" has become part of his vocabulary.
Not only that, but part of his philosophy as
well ! He demonstrated that to perfection
recently. It was on the set between scenes.
He was pushing those rubber-tired dollies
around, with his stand-in. His aunt Mylli-
cent Bartholomew, who is his guardian in
America while his father and mother stay
in London, called him over.
"Freddie,"' she said, "here are some very
complimentary clippings about your work
in 'Lord Jeff.' "
Freddie looked at her. "Thanks, Cissie,"
he said. That was all. Incidentally, he
always calls her Cissie, never ''Aunt Mylli-
cent." He ran off to resume his play. That
was characteristic of him. It's a fact that
clippings about himself, word-of-mouth
praise, or even the picture's he's made do
not interest him. He is bored to death
watching himself on the screen. He likes
acting, but when he's done he loses interest.
But this time, after a minute's huddle
with his stand-in, Freddie came back to his
aunt. Something was on his mind.
"Say, Cissie," he began, "about that
'Lord Jeff' thing, now ..."
"Don't you think it was nice, Freddie?"
asked Cissie.
"Uh huh." Then, "But say, look, don't
I get anything out of that ?"
Cissie's eyebrows went up.
"What should you get, besides the
honor?" she asked.
"Well — ah — uh — y'know, I did a lot of
hard work in that ..."
"H'm," said Cissie. She "got it." This
was a bit of chiseling.
"Well, do you think a dime would cover
it?" she asked.
Freddie's eyes brightened. "Why, yes,
that'd be fine," he conceded. Cissie shelled
out a dime, and considered the matter closed.
In another minute Freddie came back.
"Say, Cissie," he began, "y'know, my
stand-in did a lot of hard work on that
picture, too !"
"This," protested Cissie, "is blackmail !"
Freddie merely grinned a very un-British
but colossally American grin. And Cissie
shelled out another dime for the youthful
stand-in. The two kids, with loud whoops
of delight, ran to the studio cafe and
gorged themselves on twenty cents' worth
of chocolate bars.
Freddie's salary check is undeniably up
in the four-figure-a-week class. (Aunt
Cissie, as his guardian, also gets a tidy lit-
tle fee from the studio.) But all that means
nothing at all to Freddie. For Freddie's
actual pay each week, cash-in-hand, spend-
able money, is exactly thirty-five cents !
What's more, he gets it, not in one lump'
sum each Saturday, but doled out to him
by Aunt Cissie at the rate of a nickel a day.
It's hard for even a fourteen-year-old
kid to get along on that. So Freddie some
days manages to chisel an extra nickel or
two. But in this. Aunt Cissie is firm. If
he draws ahead like that, she makes it up
before the end of the week with a nickel-
less day or two. So that each week Fred-
die gets no more than thirty-five cents for
himself, except in a very exceptional case
such as the twenty-cent-chiselling on his
good picture review.
When Freddie gets to that inevitable age
and stage when he's no longer a screen
bet, he hopes to be able to go back to
England and be a little Lord Fauntleroy
grown up.
And going back to England is the one
big thing that Freddie is looking forward
to. Despite his Americanization, and his
delight in many things American, Freddie
Bartholomew is a perfect living example
of every Briton's unshakable conviction
that to be an Englishman is the supreme
essence of everything desirable or worth
attaining on this earth. No matter where
Freddie goes or what he may turn out to
be there will always be a part of him that
is "forever England."
He hopes to go back to finish his educa-
tion in English schools. His dad is a
British civil service employe ; his mother
a solid, fundamental English housewife.
Maybe Fred will go on in his father's
course, and serve his Empire. Maybe he'll
continue to be an actor. But certain it
is that he'll remain British.
OH, he has grandiose ideas about inter-
nationalism.- He gets them from read-
ing. Internationalism in this sense : "I think
a union of the English-speaking peoples of
the world would be a great step toward
everlasting world peace," he spouts. He
concedes America a reasonable place in
this English-speaking Union. It's tremend-
ous, really, to hear this fourteen-year-old
youngster talking international politics and
economics ! But when he's saying things
like that, he's more or less putting on his
"exhibition" accent and manner.
His Aunt Cissie will tell you how, even
as a three-year-old, he used to stand erect
and salute whenever he was taken past
Janet Chapman grins and romps
with her kittens between scenes of
"Broadway Musketeers."
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Buckingham Palace for a ride or walk,
"But the King might not be there,"
someone once told the tot,
"I know. But I'm doing this just in case
he is !" replied Freddie.
Freddie's day-in-day-out life in Holly-
wood is a matter almost entirely of studio
routine. That consists of four hours of
acting, three hours of schooling on the
set, and one hour for lunch out of each
eight-hour work day. The rest of the
time, he learns his next day's lines at
home, goes to some social affair, or
squeezes in an hour or two of play.
Those play hours are his real fun. He
loves to wrestle and fight. Freddie's tak-
ing boxing lessons, and he likes to prac-
tice on his friends. His stand-in gets a
bit tired of being a punching bag, and
prefty soon, they're at it hammer-and-
tongs, all boxing niceties forgotten. They're
on the floor, clothes all mussed, and the
director is always afraid there'll be a
black eye to endanger production. But
pretty soon the kids are up again, laugh-
ing and shaking hands, and there's no
black eye. Freddie is very careful about
that. He knows he mustn't endanger pro-
duction. That's his god, at present. One
night, a studio attache was protecting him
from the crowds at a public appearance.
"If I weren't here, you might get killed,"
the studio man wisecracked.
Freddie wisecracked right back, "Yes,
and that'd hold up production, and we
mustn't do that, must we?"
"^TIGHTS, before bed, Freddie likes to
^ read. He really enjoys Shakespeare,
Dickens, and Sir Walter Scott ! Days,
when he has some time to himself, he likes
most of all to ride, Victor McLaglen, with
whom Freddie became buddies during one
of his early pictures, has taken Freddie
under his wing. Two rabid Englishmen to-
gether ! Knowing Freddie's delight in
horseflesh, and his proficiency as a rider,
McLaglen gave him a splendid blooded steed
for his very own, and commissioned Freddie
an officer in the famous McLaglen Light
Horse Cavalry, that independent semi-mili-
tary organization of horsemen which Vic-
tor maintains. If England goes to war
again after Freddie's come of fighting age,
the young star thinks he might like to
lead ^ a light brigade of British cavalry.
He is really a splendid rider. And in-
defatigable. He sometimes spends an en-
tire day in the saddle.
Socially, he's the perfect gentleman and
conversationalist. His real friends are
such persons as McLaglen, Basil Rathbone,
Herbert Marshall and others of the British
actor colony in Hollywood. Among them
he's accepted as an equal, and the conver-
sation is adult in tone. Freddie's never at
a loss for words, never loses poise. There's
only one exception on record.
It was in the Vendome cafe. Freddie
and Aunt Cissie were at tea. In came
Charlie Chaplin and H. G. Wells. Cissie
pointed them out. Freddie's eyes glowed.
He'd never met either and he worships
both Chaplin and Wells as great English-
men, though in different spheres. "I'd
love to know them," he confessed to his
aunt, shyly.
Then, suddenly, Chaplin stood beside
tlieir table. "I recognized you, Master
Bartholomew," he said, "and so did Mr.
Wells. We wish you'd come and say
hello!"
Freddie, all hollow inside with hero-
worship, went over and shook hands grave-
ly with Chaplin and Wells. "I've always
wanted to meet you," said Wells. Freddie
didn't get over that thrill for days, his
Aunt Cissie later confided to friends.
Now, he's looking forward to some day
shaking hands with his new King. That,
to this young dyed-in-the-wool Briton,
would be life's greatest moment.
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111
MODERN SCREEN
ACTUAL
UNRETOUCHED
PHOTOGRAPHS
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112
Picture and Producer ^Rormg
Accidents Will Happen (Warners)
Adventure's End (Universal) 2-k
Adventures of Marco Polo (Samuel Goldwyn).. 3-^
Adventures of Robin Hood (Warners) 4^
Adventures of Tom Sawyer (Selznlck-lnternational)3V2'^
Adventurous Blonde (Warners) iVi-k
Alcatrai Island (Warners) S'/z*
^Alexander's Ragtime Band (20th Century-Fox). . . 3^
All Baba Goes to Town (20th Century-Fox) 3-^
Annapolis Salute (RKO) 2*
Arsene Lupin Returns (M-G-M) 2V2'*
Back in Circulation (Warners) 2-^
Bad Man of Brimstone (M-G-M) 21/2-*
Battle of Broadway (20th Century-Fox) 2V2-*
Baroness and the Butler (20th Century-Fox) 2>r
Barrier, The (Paramount) 1
Beg, Borrow or Steal (M-G-M) 2V2*
Big Broadcast of 1938 (Paramount) 2 Ik-
Big City (M-G-M) 21/2*
Big Town Girl (20th Century-Fox) 2*
Blockade (Walter Wanger) 31/2*
Blondes at Work (Warners) 2*
Blossoms on Broadway (Paramount) 'i'k
Bluebeard's Eighth Wife (Paramount) 31/2*
Boots and Saddles (Republic) iVi-k
Breakfast for Two (RKO) 2*
Bride Wore Red, The (M-G-M) !★
Bringing Up Baby (RKO) 3*
Buccaneer, The (Paramount) 3V2'Ar
Bulldog Drummond's Peril (Paramount) 2y2^
Bulldog Drummond's Revenge (Paramount) 2y2'Ar
Charlie Chan at Monte Carlo (20th Century-Fox). . 2-Ar
Checkers (20th Century-Fox) 2*
Cocoanut Grove (Paramount) iVzif
Colorado Kid (Republic) 2*
Condemned Women (RKO) 2*
Conquest (M-G-M) 4*
Cowboy From Brooklyn (Warners) 2y2'*r
Crashing Hollywood (RKO) 2V2-*
Crime of Dr. Hallet (Universal) ZV2-k
Crime School (Warners) iVz-k
Damsel in Distress, A (RKO) 3*
Danger, Love at Work (20th Century-Fox) 1
Dangerously Yours (20th Century-Fox) 1 "*r
Danger Patrol (RKO) 2*
Daughter of Shanghai (Paramount) 2V2-*r
Divorce of Lady X, The (London) 3V2-^
Dr. Rhythm (Paramount) 3*
Double Wedding (M-G-M) 2*
Ebb Tide (Paramount) 3-k
Every Day's Holiday (Paramount) 3-^
Everybody Sing (M-G-M) 3*
Fast Company (M-G-M) 2V2-*:
52nd Street (Walter Wanger) 2*
Fight For your Lady (RKO) 2*
Firefly, The (M-G-M) 3*
First Hundred Years, The (M-G-M) 2*
Fit For a King (RKO) 2*
Fools For Scandal (Warners) iVi-k
Forty-five Fathers (20th Century-Fox) 2-k
Forty Naughty Girls (RKO) 2*
Four Men and a Prayer (20th Century-Fox) iV2-k
Gaiety Girls, The (London) 3-*k
Girl of the Golden West (M-G-M) 3*
Go Chose Yourself (RKO) 2*
Gold Diggers in Paris (Warners) 2-k
Gold Is Where You Find It (Warners) 2*
Goldwyn Follies, The (Sam Goldwyn) 3-A-
Great Garrick, The (Warners) 3 ★
Happy Landing (20th Century-Fox) 3-k
Having Wonderful Time (RKO) 2V2*
Headin' East (Columbio) 2*
Heidi (20th Century-Fox) 3*
Here's Flash Casey (Grand National) 2-*
Heroes of the Alamo (Columbia) 2*
High, Wide, and Handsome (Paramount) 3V2-A^
Hold 'em Navy (Paramount) 2-^
Hold That Kiss (M-G-M) 3*
Holiday (Columbia) 31/2*
Hollywood Hotel (Warners) 3*
Hollywood Round-up (Columbia) 2y2*
Hurricane (Sam Goldwyn) 3V2-Ar
I'll Take Romance (Columbia) 3*
I Met My Love Again (Walter Wanger) 3*
In Old Chicago (20th Century-Fox) 3V2*
It's Love I'm Alter (Warners) 4*
Jezebel (Warners) 3*
Josette (20th Century-Fox) 272*
Joy of Living (RKO) 3*
Judge Hardy's Children (M-G-M) 3*
Keep Smiling (20th Century-Fox) 3-*-
Kentucky Moonshine (20th Century-Fox) 2*
Kidnapped (20th Century-Fox) 2*
Lady, Behave (Republic) 2*
Lancer Spy (20th Century-Fox) 2*
Last Gangster, The (M-G-M) 3-*r
Life Begins in College (20th Century-Fox) 2*
Life of Emile Zola, The (Warners) 4*
Life of the Party (RKO)
Picture and Producer 'narmg
Live, Love and Learn (M-G-M) 3*
Lone Wolf in Paris (Columbia) 2y2*
Lord Jeff (M-G-M) 2y2*
Lost Horizon (Columbia) 4*
Love and Hisses (20th Century-Fox) 3*
Love, Honor and Behave (Warners) 2y2*
Love Is a Headache (M-G-M) 2y2*
Love on a Budget (20lh Century-Fox) 2*
Love on Toast (Paramount) 2*
Mad About Music (Universal) 4*
Madame X (M-G-M) iy2*
Making the Headlines (Columbia) 2*
Mannequin (M-G-M) 3*
Man-Proof (M-G-M) 2y2*
Men Are Such Fools (Warners) 2*
Merrily We Live (Hal Roach) 3*
Merry-Go-Round of 1938 (Universal) 2*
Midnight Intruder (Universal) 2y2*
Mr. Moto's Gamble (20th Century-Fox) 2y2*
Mr. Moto Takes a Chance (20th Century-Fox) 2y2*
Music For Madame (RKO) 2 *
Navy Blue and Gold (M-G-M) 3*
Night Club Scandal (Paramount) 2*
Nothing Sacred (Selznick-lnternational) 3*
No Time To Marry (Columbia) 2-*:
Of Human Hearts (M-G-M) 2y2*
Over the Goal (Warners) 1 *
Over the Wall (Warners) 3*
Paradise For Three (M-G-M) 2*
Patient in Room 1 8, The (Warners) 2*
Penrod and His Twin Brother (Warners) 2y2-*:
Penrod's Double Trouble (Warners) 2*
Perfect Specimen, The (Warners) 3*
Port of Seven Seas (M-G-M) 3*
Portia on Trial (Republic) 3*
Prescription for Romance (Universal) 1 *
Prison Break (Universal) 2*
Radio City Revels (RKO) 2y2*
Rage of Paris, The (Universal) 3*
Rebecca of Sunnybrook Farm (20th Century-Fox). 3*
Return of the Scarlet Pimpernel (London) 2Vi-Ar
Romance in the Dark (Paramount) 2y2*
Rosalie (M-G-M) 3*
Sailing Along (Gaumont British) 3*
Saint in New York, The (RKO) 2y2*
Sally, Irene and Mary (20th Century-Fox) 2y2*
Saturday's Heroes (RKO) 2y2*
She Asked For It (Paramount) i-k
Sheik Steps Out, The (Republic) 2*
She's Got Everything (RKO) 2*
Sh! The Octopus (Warners) 2*
Slight Case of Murder, A (First National) 2y2*
Snow White and the 7 Dwarfs (Walter Disney). . . . 4*
Something to Sing About (Grand National) 2y2*
Spy Ring (Universal) ^"k
Stage Door (RKO) 4*
Stand-in (Walter Wanger) 3*
Start Cheering (Columbia) 2*
Swiss Miss (Hal Roach) 2^4*
Stolen Heaven (Paramount) ,i7'*
Storm in a Teacup (Korda) 3y2*
Swing It Sailor (Grand National) 1*
Swing Your Lady (Warners) 2y2-*
Tarzan's Revenge (20th Century-Fox) iy2-*r
Test Pilot (M-G-M) 4*
Tip-Off Girls (Paramount) 3*
There Goes the Groom (RKO) 2*
There's Always a Woman (Columbia) 3-^
They Won't Forget (Warners) 3*
This Way, Please (Paramount) 1*
Thoroughbreds Don't Cry (M-G-M) 2y2-Ar
Three Comrades (M-G-M) 3y2*
Three Blind Mice (20th Century-Fox) 2*
Thrill of a Lifetime (Paramount) 1 *
Thin Ice (20th Century-Fox) 31/2 *
Torchy Blane in Panama (Warners) 2y2-*
To the Victor (Gaumont-British) 3y2*
Tovarich (Warners) 3*
Trip to Paris, A (20th Century-Fox) 2y2*
Troopship (Gaumont-British) 2/2 k
True Confession (Paramount) 4*
Varsity Show (Warners) 3*
Victoria the Great (RKO) 4*
Vivacious Lady (RKO)
Walking Down Broadway (20th Century-Fox) 2y2*
Wells ."^orgo (Paramount) 3*
Westland Case, The (Universal) 2*
White Banners (Warners) 3*
Who Killed Gail Preston? (Columbia) 2-*-
Wide Open Faces (Columbia) 2*
Wild and Woolly (20th Century-Fox) 2*
Wise Girl (RKO) 3*
Women Are Like That (Warners) 2*
Women in Prison (Columbia) 2*
Yank at Oxford, A (M-G-M) 3*
Yellow Jack (M-G-M) 3*
You and Me (Paramount) 2V2*
You're a Sweetheart (20th Century-Fox) 2y2-<r
You're Only Young Once (M-G-M) 2*
Turn to our Scoreboard when you're in doubt about what movie to see. It's a valu-
able guide in choosing entertainment. Instead of giving the individual ratings of
Modern Screen and authoritative newspaper movie critics all over the country, we
have struck an average of their ratings. You'll find this average under General Rat-
ing, beside each picture. 4*, very good; 3*, good; 2*. fair; 1*. poor. Asterisk
denotes that only Modern Screen ratings are given on films not reviewed by news-
papers as we go to press.
MODERN SCREEN
WHITE ELEPHANTS
{Continued from page 10)
and a growing stable of carefully chosen
horses. Baseball used to be his principal
outside interest but lately the ponies have
been edging in on his spare time.
And, with all these things, as Mr. Brown
says, "What more can a fellow ask?" Par-
ticularly a fellow who still remembers when
he ran away from Holgate, Ohio at the
age of nine, started to take the world in
his stride and to cover all he could of it
on the upgrade. That was all of thirty-
eight years ago and if, in the ensuing
years, he has had to take the knocks with
the good luck, the lean months with the
seasons of plenty, the golden horn is cer-
tainly pouring out its contents for him now.
And he's meeting the avalanche with sane-
ness and rare good judgment — the way he
took Brown's white elephants.
A travelling circus, stopping over out-
side Toledo one spring afternoon just be-
fore the turn of the century, was what
started Joe going places. The big tent, the
performers, the animals, the thrilling music
were a magic land to him, the sawdust ring
was his dream of far green pastures. He
was a sparse little tike with freckles on
his nose, hair that got in his eyes, and that
same big mouth, when he dared to smile.
It was because of that smile that he was
allowed to remain with the troupe when he
was discovered toting pails full of water
that nobody apparently had hired this par-
ticular little boy to carry.
His lot was cast among the youngsters
who ministered to the elephants but, while
Joe labored in behalf of the big gray beasts,
his ambitions centered around the cages on
wheels. He wanted to be an animal trainer
and tame those beautiful tigers.
But it was his penchant for nimble turns
in mid-air that got Joe a spot with the
Five Marvelous Ashtons. "Imagine me as
a marvel !"
Early in his variety career, comedian
Brown discovered that his forte was being
funny. He could allez-obp with the best
of them and win moderate applause but,
when he opened his mouth to its widest
stretch and made strange noises as he de-
liberately missed a turn, the audience
"rolled in the aisles," and so he concen-
trated on clowning.
In early life he was a serious young man,
with an eye on Broadway. He was naturally
shy and a little self-conscious about his
looks. Romance was a minor key until
he met a home-type girl who was as beau-
tiful as she was sincere. Kathryn Frances
McGrau had plenty of beaux who admired
her peaches and cream complexion, her
Irish eyes and her ever-present smile, but
the big-mouthed comedian won her, and
they've been happily married ever since.
One son, Don, was a football player at the
University of California in Los Angeles.
The second, Joe, Jr., has been a student at
Mercersburg Academy in Pennsylvania, and
there are two beautiful little daughters of
whom Joe is very proud.
Joe's first big chance came when he
signed for The Greenwich Village Follies
in a comedy role fifteen years ago. From
that success he went into several other New
York shows. Joe, at last, was doing all
right for the Browns. He joined the Lambs
Club and met all the other actors, became
an Elk (on lodge nights) and was main-
taining a pleasant menage in the vicinity
of Manhattan when Joseph P. Kennedy,
then president of a movie company, sent
for him in 1928.
That's one time Joe was really scared.
He and Kathryn talked it over and finally
decided on the big gamble. His introduc-
tion into the cinema circles of the east
had somewhat the cast of the old white ele-
phant business. The company gave a party
for him at the Astor Hotel to observe his
entrance into the flicker fold, and Joe ar-
rived all dressed up in a nautical outfit, be-
cause he heard the festivities were to take
place in the Yacht Room.
Shortly after the party started Joe had
a message to meet Mr. Kennedy immedi-
ately. That executive was leaving for
Europe in an hour and there were some
last minute contract details to be settled.
Joe slipped away and the press thought he
was high-hatting them. They didn't like
his admiral's uniform, either, and rode him
considerably in their columns the next day.
That doubled Joe's fears about himself and
Hollywood as a combination.
Though, so far as he knew, there would
be no elephants in the movie studios out
West — and that helped at least. One of his
first assignments was to play a clown in
"A Circus Kid." Always looking for a
story, we asked hopefully, "Wasn't the
elephant that once tried to trample you
in that picture?"
But Joe had to admit he never saw his
old enemy again, agreeing that it would
have made a good story — unless the ele-
phant had remembered too suddenly.
JOE'S first season in the celluloid town
wasn't "so hot," as he remembers. It
took him longer than that to acclimate him-
self, for his reticence was a drawback in a
colony where a man has to take care of
himself, but with vehemence, because no-
body else does.
"Gosh, I guess I wasn't so hot among
those glamor boys," he reminisces. But
many of the "glamor boys" of 1929 aren't
so hot themselves right now, and Joe is
doing all right. Studio executives soon
discovered that Brown was good business
at the ticket-sellers' windows. With every
picture Joe's popularity grew, until his
company was using Brown vehicles as sure-
fire box office appeal to sell other pro-
gram offerings of less certain grosses. Not
long ago he achieved the enviable distinc-
tion of having his own production unit to
make three pictures a year, with Brown
having plenty to say about stories, direc-
tors and supporting casts.
Once in a while Joe E. Brown's memory
plays a trick on him with pleasant pictures
of theater audiences to watch his work.
But when British interests recently beck-
oned him across the Atlantic for a variety
engagement at the Palladium in London he
had a terrible attack of stage fright — sev-
eral weeks in advance.
"Maybe the white elephants are coming
back," Joe remarked. But his fears were
needless because in the English capital he
was an outstanding success.
Certainly, when Mr. Brown views his
San Fernando farm and looks with pride
on his family, he must feel that keeping to
the main road of life, despite the alluring
detour signs he used to meet up with, has
paid him generous premiums. As he says,
he isn't a glamor boy, but his feet have
been planted deep in reality, and success
hasn't ciianged him.
The younger generation of the Browns
is growing up but Joe Senior has remained
amazingly young — maybe the laughter does
it. "Eventually I want to be a director-pro-
ducer. I ought to know enough about the
business by now," Joe confides. But for the
present he goes on acting and remains the
enviable person who can say honestly, "I've
got everything I want."
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113
Don Ameche and
his wife snapped
as they arrived
in New York en-
route to a belated
European vaca-
tion.
Connie Bennett
and Gilbert Ro-
land enjoying the
fights — one of
Hollywood's pet
diversions, by the
way.
A Hollywood columnist caused Bill Powell considerable anguish
when he reported recently that a star sapphire being worn by
Azadia Newman, the portrait painter, was a gift from Powell. The
ring was actually a gift from Scott Colton. Miss Newman's fiance.
The star sapphire which Powell gave Jean Harlow was given back
to him as a keepsake by lean shortly before her death, and the
columnist's implication that he had given it away hurt William
Powell tremendously.
The "Hollywood Reporter" records Shirley Temple's newest joke,
pulled on eleven-year-old Walda Winchell at a recent luncheon in
New York. Shirley asked Walda to spell the numeral "two" and the
word "too" and Walda complied. "Now," said Shirley, "what's the
last name of the man who wrote 'Tom Sawyer'?" "Twain," said
Walda. "Okay," said Shirley. "Now repeat all three words." "Two
loo Twain," Walda responded. "That's fine," said little Miss T. "Now-
when you're a little older I'll teach you how to say 'locomotive'."
Add Michael Curtiz stories : Despite the fact that he's one of
the best directors in tlie business,
Mike has trouble remembering the
names of the stars with whom he's
working. On the set of "Four
Daughters" recently he was doing
a scene witli Priscilla Lane and
Dick Foran. He wanted Foran to
move a few steps away from Miss
Lane, bu<- he couldn't remember
Foran's name. Closest he could
come was the fact that Foran was
a cowboy star, so he yelled :
"You — lonely ranger — move over,
please !"
Hollywood oddities: Joan Bennett's
swimming pool has a cut-glass bot-
tom. . . . Johnny Weissmuller, who
has never uttered a word of dia-
logue in pictures, makes $40,000 a
year. . . , Garbo, who has never —
they say — uttered a word of dialogue
outside of pictures, makes $400,000.
. . . On the first of every month,
Carole Lombard writes a check for
$1500 for her family . . . and Jack
Oakie, who was once one of the
town's most convivial tipplers, now
drinks nothing but cokes.
Battle of the moment is the one
going on between Bing Crosby
and his studio. A Crosby picture
called "Sing You Sinners" during
production was suddenly clianged
Question Box : What
Ilona Massey, left, and Eleanor Powell
waiting for their best beaus.
to
'The Unholy Beebes."
Bing registered immediate disapproval because the picture's
story is parallel to his own life story, and he doesn't think
the Crosbys were particularly unholy, as families go. The
studio stood firm. A week later Bing sang three songs
from the picture on his radio show. The songs, he an-
nounced, were from "Sing You Sinners." You can place your
bets now on the ultimate title of the picture, but we'll put our
money on Bing any day.
114
well-known singing star can't go before
the cameras unless she has had ten
hours of sleep the night before?
Reason is that the gal is older than
she cares to tell, and a night with-
out much sleep brings those tell-
tale circles under her lovely eyes.
The Flynn-Damita Sweepstakes:
During the space of one recent
week, the course of their love ran
anything but smooth. They each
spent a week-end in Mexico, but at
resorts thirty miles apart. On Wed-
nesday of the following week they
entertained the customers at the
House of Murphy with one of their
best battles, and on Thursday the
same startled customers could have
seen them billing and cooing at the
Cocoanut Grove. Miss Damita, we
learn, will soon do a solo trip to
Europe, and there are indications of
a divorce suit while she's there.
Another member of the Power
family has come to Hollywood to
live, but she doesn't want to be
in pictures. She is Tyrone's sister,
Anne, who recently left New York
to make her home here with
Tyrone and her mother. A year
younger than Tyrone, she played
in stock in New England during
the time her brother was getting
lis start with the Katherine Cornell company back on Broadway.
Watched Virginia Bruce and Fredric March do an ice skating
sequence for "There Goes My Heart," and when it was over Miss B.
confided that skating is a great hip reducer. "In the past two hours,"
she said, "I've landed on my — well, hips, twelve times. I'm sure
I've taken off at least a pound or two."
Printed in tlie U. S. A. by Art Color Printins Company. Dunellen, N. J.
R E A
T H
M P L E T
STORY
Let us take you back with us to the glory and the
glitter that was Versailles ... to the despair and
poverty that was France. Come along down the
pages of history, to the days that belonged to MARIE
ANTOINETTE!
No weaver of tales could have conceived her story.
For only on the scroll of life itself can be found the
ecstasy, the hopelessness, and the burning romance
of a woman who was more dearly loved, more bitterly
hated, than any character in fact or fancy.
The memorable story of "MARIE ANTOINETTE,"
adapted from the M-G-M picture starring Norma
Shearer and Tyrone Power, appears, in complete fic-
tion form, in the OCTOBER issue of SCREEN
ROMANCES.
In this same issue, you'll find the complete stories of
There Goes My Heart Fredric March & Virginia Bruce
The Great Waltz Luise Rainer & Fernand Gravet
Hot Heiress Olivia de Havilland & Dicic Powell
Youth Takes a Fling Joel McCrea & Andrea Leeds
Discover for yourself
the absorbing entertain-
ment of SCREEN RO-
MANCES fiction. Buy
your copy today!
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ccreen
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So CHARLES BELVIN Smokes Luckies, the 2 to 1
Favorite of America's Independent Tobacco Experts
TOBACCOLAND has many indepen-
dent experts — skilled auctioneers,
buyers and warehousemen. These men
do not work for any cigarette company,
therefore they are impartial. Here's what
one of them — Charles Belvin, indepen-
dent buyer — tells you about tobacco:
'At auction after auction for over 19 years,
I've seen Luckies buy the best grades
of tobacco — the 'Cream of the Crop'!"
Sworn records show that, among Mr.
Belvin's fellow experts, Luckies have
over twice as many exclusive smokers as
have all other cigarettes put together.
In addition to the finest tobacco, Lucki
give you throat protection. The"Toastin)
process, you know, takes out certa
harsh irritants found in all tobacco.
Luckies are a light smoke — gentle
your throat — delightful to your tas
Let a one-week trial prove it!
^womTecon/s ^/,ou^7Jiaf-mm MEN WHO KNOW TOBACCO BEST- IT'S LUCKIES 2 T(^
MODERN SCREEN
"Well, I certainly did my smile no favor -
Neglecting that tinge of 'pink'!"
IJvA^A^f' X^aIw^ ^am4«c«4 19AA«<% mm^mmm Xvwwmam
Protect your smile! Help your dentist keep your gums firmer
and your teeth sparkling with
IPANA
AND MASSAGE
V
J
IPANA TOOTH PASTE
Foolish, foolish you! The
loveliest smile in the world
grows dim if neglected. And
you neglected yours.
Oh yes you did! Of course
you brushed your teeth every
day. But you never gave a
thought to your gums, did you? You suspected
that first tinge of "-pink" on your tooth brush
meant trouble, but you just didn't bother!
Well, today you're going to see your dentist
(it's the sensible thing to do)! Today you're
going to learn that gums as well as teeth need
special care! And if he suggests the health-
ful stimulation of Ipana and massage you're
going to follow his advice— if you want to re-
capture that lovely, appealing, winning smile!
Guard Against "Pink Tooth Brush"
And Protect Your Smile
IF you've noticed that warning tinge of
"pink" on your tooth brush— jff your den-
tist. Let him decide if there's serious trouble
ahead. Probably he'll say your gums are sim-
ply lazy—xhzx. they need more worlz to help
keep them firm and strong.
All too frequently our modern foods are
too soft, too well -cooked to give our gums
the stimulation they need for better health.
Understand this— and you'll appreciate why
modern dentists so frequently advise the
regular use of Ipana Tooth Paste.
For Ipana is especially designed not only
to clean teeth but with massage to help the
health of your gums as well. Each time you
brush your teeth massage a little extra Ipana
into the gums. This arouses circulation in
the gums— they tend to become stronger,
firmer— more resistant to trouble.
Don't risk your smile! Get a famous and
economical tube of Ipana at your druggist's
today. Let Ipana and massage help you to
keep your smile a winning smile!
3
MODERN SCREEN
TOUCHVOWN
IN EVERY
STICK OT
nABERRY
Teaberry does
more than just ^
keep your teeth white and sparkling,
your gums pink /and healthy, your
breath sweet as a baby's. It gives you
the taste-t/jr/// 6^ the year — the fresh,
lasting flavor of real Teaberry!
MODERN
SCREEN
Copvrisht.1938,by
Dell Publishing Co.,lnc.
Editor
Regina Cannon (;,'o,iywood Editor
Leo Townsend ..Art Editor
Abril Lamarque
NOW SHOWING
THE COUNTRY GENTLEMAN
SHiRLEV DISCOVERS AMERICA
THE LURE THATS LAMARR
h\vER OUT OF CHARACTER
GINGER'S MA SPEAKS^Hg
SHE'S A SMARTIE
^MD FATHER IS DOING WELL
MfS LOOKING FOR LOVh
Tman who came back
DIVORCE BECAUSE OFJAXE'f
MAKING THE MOST^gF
seventeen vo-de-o-do
IN BETWEEN
SUITING THE SEASON
HE'S NOT MOV.-M,NDEP
8 MACK HUGHES
26 DORA ALBERT
28 KAY PROCTOR
30 MARY PARKES
MARTHA KERR
NANETTE KUTNER
k;,tharine hartley
FAITH SERVICE
GLADYS HALL
CAROLINE S. HOYT
32
34
36
38
40
42
44
46
47
48
50
"on holding a man 108
^ARY MARSHALL
IDA ZEITUN
GEORGE BENJAMIN
PARIAN SOUIRE
ROBERT MclLWAlNE
LiLUAN GENN
SHORT SUBJECTS
MOVIE REVIEWS
MOVIE SCOREBOARD
XOVIN $250,000.00
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OF YOUR FAVORITES
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Reach for the
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CLARK'S
lEABERRY
-r-IOroS Z OUESTIONS —
J F. Henry, Vice.Presiden ,^ i" *^^"' ^bscriPt $2-00 a year |;%pder act of
Printed in the U- ^°'^'TZ voZ\S.^^< DuneUen ^ew JeFseY;^^,^ San
subscriptions, 51 a /is 193O, at the ^°"j^ig5 entered at Seattle, Missouri,
dass matter, September ^ j "^m^L Orleans, L°"■'^'°"°'Xited material. Sole
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£. C. 4, E"slando^ . If the name of a .ivms
matter are hctitious ^^^^^^^>w>Mfl
4
MODERN SCREEN
AND THE BRAVE WOMEN WHO FOLLOW THEM!
Go WITH THEM ... through the Khyber
Pass! Watch the bitter struggle between East and
West. Thrill to the love story of a brave Woman
who followed her man among seething tribes. A
majestic episode in the historic drama of India.
IN GLORIOUS TfCHNICOLOR
SABU RAYMOND MASSEY* DESMOND TESTER
ROGER LIVESEY VALERIE HOBSON
And a coil of 3,000 • DIRECTED BY ZOLTAN KORDA
FROM A STORY BY A. E. W. MASON
RCLEASfD THRU UNITED ARTISTS
COMING SOON TO YOUR FAVORITE THEATRE-ASK THE MANAGER WHENI
Thrill to the most majestic
scenery on earth . . . the Hima-
layas of India. ..in Technicolor.
See Sabu, native Indian lad, cast
as native Indian prince, riding
triumphantly his plunging white
charger!
>^See real British
Troops fight where
they battled long ago
to win an Empire.
to the feast where dining
was only a prelude to be-
trayal . . . and fear rose in
the hearts of the bravest!
MODERN SCREEN
THE COUNTRY
GENTLEMAN
By MACK HUGHES
Johnny Davis loves tootin' a horn,
but then a farm has its points, too
Mr. D. catches up on his practicing.
SOME FOLKS dream of the day
they can own a yacht, a Rolls Royce
or a mansion complete with swim-
ming pool and tennis courts. But
not Johnny Davis. This render of
swingy songs wants nothing of the
sort. In fact, Johnny admits that
all he's after is a smaU house, suf-
ficient land to plant a vegetable patch
and room enough for his chickens
and dogs. Of course this is a pretty
elastic order, since Mr. D.'s younger
pup is a St. Bernard, and chickens
have been known to raise families !
Johnny Davis' face wrinkled into
one of his famous grins as we looked
questioningly in the direction of some
strange sounds. "That's my chickens,"
he informed us. "I've got about
twenty-four out there now. You
didn't know I was a country boy at
heart? Oh, yes. I'm from the farmin'
section of Indiana. Y'know that ole
saying, 'You can take the boy from
the country, but — ' I raise vege-
tables and gather my own eggs each
day. Wbich reminds me, things
slacked up a bit today. I only got
eleven. Gotta give those chickens a
little pep talk. They can do better
than that. But, then they've got the
afternoon ahead, so I'm looking for
results."
Sitting in his modernistic living-
room, Johnny Davis looked anything
but a farm boy. More, indeed, like
a sophomore home for the weekend.
But then, college attire was more or
less what we had expected as Johnny
was in the throes of making "Brother
Rat," a tale of collegiate capers.
"You see, I've always liked tbe
country," Johnny confided. "Even
when I was in New York playing
with orchestras, I had a little house
up on a lake where I could go every
so often. I said then if I ever worked
in one place long enough, say a year,
I'd get a home and do a little farm-
ing. That's why I'm so crazy about
it here in California. Now, back in
New York they build up in the air,
so you can't afford much in the way
of land. But, here they spread it out
in all directions, so you gotta better
chance.
"This place is nice, but it's not
exactly what we want. The house
is big enough, but when it rains the
darn thing leaks. I called the owner
Here is Johnny doing the work
he really loves. Yes, raising
vegetables, and not Cain, is his
idea of a good time.
about it, after one of our heavy rains
and what d'ya think he did? Came
running out here with a handful of
putty and began sticking it around
the leaky spots ! Heck, I could've
done that myself ! Somehow they
don't seem to understand you want
things fixed permanently.
"In case you're wondering why
there's no grass in the garden,"
Johnny continued as he showed us
around his place, "just look at that
pup. He's the responsible party.
We've only had him four weeks, so
you can see what a thorough job he's
done ! And, after all my work plant-
ing grass and flowers ! I even got
special potted plants which I put out
by hand. Then along comes this
young fella and in a couple of days
even the grass is trampled down.
When I get my own place I'll have
a patch of ground fenced in for him ;
otherwise he's liable to flatten its in
a few months !"
As we moved from this scene of
desolation, Johnny proudly led us to
his "eatin' patch."
"This is where we grow our vege-
tables," he announced. "There's
corn, beans, radishes ; in fact, any-
thing we want, right here ! I call it
Option Acre. Y'know, it's sympa-
thetic with my contract. Long about
option time, it gets sorta low, then
when my time is extended, I run
home and plant another row of corn
and throw in some beans for good
measure. And now my pride and
joy! See this plow? It's motor-driven.
The folks next door owned it, but
I had my eye on it every time I went
over to buy eggs. When we got
(Continued on page 16)
8
MODERN SCREEN
TLeManWlio Made TL Picture
"k It is my business to make pic-
tures, not to advertise them. But I
have seen "Four Daughters," one of
those rare and perfect things that hap-
pen once or twice in a lifetime. Now I
want the whole world to see the fin-
est picture that ever came out of the
Warner Bros. Studios.
\ sat at the preview with
Fannie Hurst, its author, — the woman
who gave you "Humoresque," "Back
Street" and "Imitation of Life" — the
woman who knows how to reach hu-
man hearts and bring hfe's joys and
sorrows to countless millions of read-
ers. She shared with me the thrilled
delight of watching "Four Daugh-
ters." Now, after seeing her grandest
story quicken to life on the screen,
she joins me in the enthusiasm I'm
trying to pass on to you.
tAt Warner Bros, have made
many other great pictures. Among
them — "Robin Hood," "Pasteur,"
"Anthony Adverse," "The Life of
Emile Zola." But here is a picture en-
tirely different. A simple story of to-
day and of people close to you and
yours. An intimate story of four young
girls in love and of youth'3 laughter,
dreams and heartbreak.
Once in a blue moon comes
a picture where everything seems to
click just right. "Four Daughters" is
such a picture. Action, story, direc-
tion blend, as if under kindly smiles
of the gods, into a natural masterpiece.
Especially, the truly inspired acting
of three young players — Priscilla
Lane, John Garfield and Jeffrey Lynn
— is sure to raise these three to the
topmost heights of stardom.
'k If you could attend but one
picture this year, I think "Four
Daughters" would give you your hap-
piest hour in the theatre. See it! I
sincerely believe it's the best picture
Warner Bros, ever made.
/ JACK L WARNER, Vice-President
In Charge of Production, ■
Warner Bros. Pictures, Inc.
WARNER BROS. Present
FANNIE HURST'S Gr...s.orv
"FOUR DAUGHTER
PRISCILLA LANE -ROSEMARY LANE
LOLA LANE • GALE PAGE
CLAUDE RAINS • JOHN GARFIELD
JEFFREY LYNN • DICK FORAN
Frank McHugh /^^^^^ May Robson
MICHAEL CURTIZ -"d Lenor« Coffee
From the Cosmopolitan MaRazlne Story ^ii^gS^ Music by Max Stelner. A First NafI Picture
A dnshing
aoiiallty -
9
MODERN SCREEN
si! I . ft
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oils, detract from your radiant loveli-
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MS 1138
MOVIE SCOREBOARD
Picture and Producer ^X'g'
Accidents Will Happen (Warners) 2*
Adventure's End (Universal) S-Ar
Adventures of Marco Polo (Samuel Goldwyn).. 3^
Adventures of Robin Hood (Warners) 4ie
Adventures of Tom Sawyer (Se!inick-lnternational)3'/2'^
Adventurous Blonde (Warners) SVi-^
Alcatrai Island (Warners) SVz*
Alexander 5 Rastime Band (20th Century-Fox). . .iVzir
Algiers (Walter Wanger) ZVz-k
The Amazing Dr. Clitterhouse (Warners) Wi-k
Army Girl (Republic) 2V2*
Arsene Lupin Returns (M-G-M) 2V2'k
Bad Man of Brimstone (M-G-M) 2V2-*
Battle of Broadway (20th Century-Fox) iVz-k
Baroness and the Butler (20th Century-Fox) Or
Barrier, The (Paramount) 1
Beg, Borrow or Steal (M-G-M) SVz*
Big Broadcast of 1938 (Paramount) 2*
Big Town Girl (20th Century-Fox) 2*
Blockade (Walter Wanger) 3V2*
Blondes at Work (Warners) 2*
Blossoms on Broadway (Paramount 1
Bluebeard's Eighth Wife (Paramount) SVi*
*Boy Meets Girl (Warners) 2*
Bringing Up Baby (RKO) 3*
Buccaneer, The (Paramount) 31/2^
Blulldog Drummond's Peril (Paramount) 2y2^
Bulldog Drummond's Revenge (Paramount) iVzie
Charlie Chan at Monte Carlo (20th Century-Fox) . . 2 ★
Chaser, The (M-G-M) 21/2*
Checkers (20th Century-Fox) 2*
Cocoanut Grove (Paramount) 2y2^
Colorado Kid (Republic) 2*
Condemned Women (RKO) 2*
Cowboy From Brooklyn (Warners) 2y2*
Crashing Hollywood (RKO) 2V2*
Crime of Dr. Hallel (Universal) 21/2*
Crime School (Warners) 21/2*
Damsel in Distress A (RKO) 3*
Danger, Love at Work (20th Century-Fox)
Dangerously Yours (20th Century-Fox) 1 *
Danger Patrol (RKO) 2*
Daughter of Shanghai (Paramount) iV2'k
Divorce of Lady X, The (London) 3y2^
Dr. Rhythm (Paramount) 3-*:
Ebb Tide (f'aramounl) 3^
Every Day's a Holiday (Paramount) 3-k
Everybody Sing (M-G-M) 3^^
Fast Company (M-G-M) 2y2*
52nd Street (Walter Wanger) 2*
Fight For Your Lady (RKO) 2*
Firefly, The (M-G-M) 3*
First Hundred Years, The (M-G-M) 2*
Fools For Scandal (Warners) 2y2*
Forty-five Fathers {20th Century-Fox) 2*
Four Men and a Prayer (20th Century-Fox^ 2y2*
Four's a Crowd (Warners) 3^
Gaiety Firls, The (London) 3-*-
Gateway (20th Century-Fox) 2-A-
Girl of the Golden West (M-G-M) 3*
Give Me a Sailor (Paramount) 2y2^r
Go Chase Yourself (RKO) 2*
Gold Diggers in Paris (Warners) 2-^
Gold is Where You Find It (Warners) 2*
Goldwyn Follies, The (Sam Goldwyn) 3-Ar
Happy Landing (20th Century-Fox) 3-^
Having Wonderful Time (RKO) 2y2*
Headin' East (Columbia) ^"k
Heidi (20lh Century-Fox) 3 Ik-
Here's Flash Casey (Grand National) 2^
Heroes of the Alamo (Columbia) 2-Ar
High, Wide, and Handsome (Paramount) 3y2-<r
Hold 'em Navy (Paramount) 2-A'
Hold That Kiss (M-G-M) 3*
Holiday (Columbia) 3y2*
Hollywood Hotel (Warners) 3*
Hollywood Round-up (Columbia) 2V2*
Hurricane (Sam Goldwyn) 3y2-^
I'll Take Romance (Columbia) 3-A:
I Met My Love Again (Walter Wanger) 3*
In Old Chicago (20th Century-Fox) 3y2*
It's Love I'm After (Warners) 4-*
Jezebel (Warners) 3-*r
Josette (20th Century-Fox) 2y2*
Joy of Living (RKO) 3*
Judge Hardy's Children (M-G-M) 3*
Keep Smiling (20th Century-Fox) 3-^
Kentucky Moonshine (20th Century-Fox) 2*
Kidnapped (20th Century-Fox) 2*
Last Gangster, The (M-G-M) 3 ★
Life of Emile Zola, The (Warners) 4*
Little Miss Broadway (20th Century-Fox) 3-*:
Lone Wolf in Paris (Columbia) 2y2*
Lord Jeff (M-G-M) 2y2*
Lost Horizon (Columbia) 4-k
Love and Hisses (20th Century-Fox) 3-^
Love Finds Andy Hardy (M-G-M) 3*
Love, Honor and Behave (Warners) 2y2*
Picture and Producer |Xg'
Love Is a Headache (M-G-M) 2y2*
Love on a Budget (20th Century-Fox) 2 *
Love on Toast (Paramount) Of
Mad About Music (Universal) 4-^r
Making the Headlines (Columbia) 24r
Mannequin (M-G-M) 3^
Man-Proof (M-G-M) 2y2*
Marie Antoinette (M-G-M) 4*
Men Are Such Fools (Warners) 2-^
Merrily We Live (Hal Roach) 3*
Merry-Go-Round of 1938 (Universal) 2-*
Midnight Intruder (Universal) 2y2*
Mr. Moto's Gamble (20th Century-Fox) 2y2*
Mr. Molo Takes a Chance (20th Century-Fox) 2y2 *
Mother Carey's Chickens (RKO) 3^
Navy Blue and Gold (M-G-M) 3 ★
Nighl Club Scandal (Paramount) 2*
Nothing Sacred (Selznick-lnternationa!) 3-k
No Time To Marry (Columbia) 2-^
Of Human Hearts (M-G-M) 2y2*
Over the Goal (Warners) 1*
Over the Wall (Warners) 3*
Paradise For Three (M-G-M) 2*
Passport Husband (20th Century-Fox) 2-*r
Patient in Room 18, The (Warners) 2i*r
Penrod and His Twin Brother (Warners) 2y2-A'
Penrod's Double Trouble (Warners) 2*
Perfect Specimen, The (Warners) 3-Ar
Port of Seven Seas (M-G-M) 3*
Portia on Trial (Republic) 3^
Prescription for Romance (Universal) 1 ^
Prison Break (Universal) i-k
Racket Busters (Warners) 3-k
Radio City Revels (RKO) 2y2*
Rage of Paris, The (Universal) 3-^
Rebecca of Sunnybrook Farm (20lh Century-Fox). . 3-k
Return of the Scarlet Pimpernel (London) 2y2'A'
Romance in the Dark (Paramount) Wz'k
Rosalie (M-G-M) 3*
Sailing Along (Gaumont British) 3^
Saint in New York, The (RKO) 2y2*
Sally, Irene and Mary (20th Century-Fox) 2y2*
Saturday's Heroes (RKO) 2y2*
She Asked For It (Paramount) 2-*:
Sheik Steps Out, The (Republic) 2 ★
She's Got Everything (RKO) 2*
Sh! The Octopus (Warners) 2*
Sky Giant (RKO) 2y2*
Slight Case of Murder, A (First National) 2y2*
Snow White and the 7 Dwarfs (Walter Disney) 4*-
Something to Sing About (Grand National) Wi-k
Spy Ring (Universal) i-k
Stage Door (RKO) 4*
Stand-in (Walter Wagner) 3 ★
Start Cheering (Columbia) 2^
Swiss Miss (Hal Roach) 2y2*
Stolen Heaven (Paramount) 3-k
Storm in a Teacup (Korda) 3y2^
Swing It Sailor (Grand National) 1
Swing Your Lady (Warners) 2y2*
Tarzan's Revenge (20th Century-Fox) VA-k
Test Pilot (M-G-M) 4*
The Texans (Paramount) 3-^
Tip-Off Girls (Paramount) 3-k
There Goes the Groom (RKO) 2*
There's Always a Woman (Columbia) 3-k
They Won't Forget (Warners) 3*
This Way, Please' (Paramount) 1 *
Thoroughbreds Don't Cry (M-G-M). 2V2-k
Three Comrades (M-G-M) 3y2*
Three Blind Mice (20th Century-Fox) 2 ★
Thrill of a Lifetime (Paramount) tk
Thin Ice (20th Century-Fox) 3y2*
Torchy Blane in Paramo (Warners) 2V2*
To the Victor (Gaumont-British) 3y2*
Tovarich (Warners) 3-k
Trip to Paris, A (20th Century-Fox) iV2-k
Troopship (Gaumont-British) 2y2 -k
■^Tropic Holiday (Paramount) 2-A'
True Confession (Paramount) 4-*
Varsity Show (Warners) 3-*'
Victoria the Great (RKO) 4*
Vivacious Lady (RKO) 4 ★
Walking Down Broadway (20th Century-Fox). .. 2y2 ★
Wells Fargo (Paramount) 3 ^
Westland Case, The (Universal) 2 Ik-
White Banners (Warners) 3*-
Who Killed Gail Preston? (Columbia) 2*
Wide Open Faces (Columbia) 2*-
Wild and Woolly (20th Century-Fox) 2*
Wise Girl (RKO) 3*
Women Are Like That (Warners) 2*
Women in Prison (Columbia) 2*
Yank at Oxford, A (M-G-M) 3*
Yellow Jack (M-G-M) 3*
You and Me (Paramount) 2y2-Ar
You're a Sweetheart (20th Century-Fox) 2y2*
You're Only Young Once (M-G-M) 2 ★
Turn to our Scoreboard when you're in doubt about what movie to see. It's a valu-
able guide in choosing entertainment. Instead of giving the individual ratings of
Modern Screen and authoritative newspaper movie critics all over the country, we
have struck an average of their ratings. You'll find this average under General Rat-
ing, beside each picture. 4-^^, very good; good; 2*. fair; 1-^, poor. Asterisk
denotes that only Modern Screen ratings are given on films not reviewed by news-
papers as we go to press.
10
MODERN SCREEN
. , . Broadway's most successful
comedy hit! . . . The higgest laugh
show in a generation! ... A two-
season sensation!... The movie rights
cost more than any other play ever
produced— and, measured in laughs,
it was cheap at twice the price! . . .
ONE LOOK AT WHO'S
IM IT-AND YOU WOM'T
LET AMYTHIMG KEEP
YOU AWAY WHEM
IT PLAYS YOUR
LOCAL THEATRE! ^
ANN M/LLt-R
PANDRO S. BERMAN IN CHARGE OF PRODUCTION
DIRECTED BY WILLIAM A. SEITER
Screen Play by Morrie Ryskind
U
LET US HELP YOU WIN
Here is the complete guide to the answers which can make you a lucky
r
E X P L A N
Here is a chance at fame and fortune! To enter this
contest, simply secure a movie quiz booklet at your
neighborhood theatre. Answer one question about any
30 pictures included in the booklet, and then write a
statement of not more than 50 words, telling which one
of the 30 pictures you like best, and why.
Our sample letter will help you in writing your state-
ment. Remember, it must be original. Just write as if
you were telling a friend why the picture appealed to
T I 0 N
you.
As a further guide, read our synopses carefully. They'll
assist you in selecting the correct answers.
After you have completed your entry, mail the book-
let containing your answers and the 50 word statement to
Motion Picture Contest
480 Lexington Avenue, New York City
Postmarked not later than December 31, 1938
FOUR DAUGHTERS
I enjoyed "Four Daughters" pri-
marily because it gave a true
picture of a happy home life.
The girls, though different in
character, were very human and
appealing. Their spirit of "one
for all" taught a valuable lesson
and the things that happened to
them come into the lives of all of
us. Therefore, the story rang true.
MARIE ANTOINETTE
"Marie Antoinette" is one of the
most beautiful pictures ever made.
I enjoyed every moment of it,
from the fine characterizations of
its players to the colorful, histori-
cal pageant. The direction was
truly expert and the acting of
Robert Morley, Norma Shearer
and Tyrone Power, something I
shall never forget. Here is every-
thing in the way of entertainment.
FOUR DAUGHTERS
There is much excitement at the Lemp household be-
cause of Thea's new beau, weahhy Ben Crowley, and the
arrival of the young musician, Felix. Though impressed
with Ben's beautiful car, the orchids he sends to Thea —
all four daughters (Thea, Kay, Ann, Emma) fall in love
with debonair Felix. The announcement of his engage-
ment to Ann is a blow to everyone including Mickey,
Felix's cynical orchestrator, who also loves Ann. When
Ann discovers how much Emma loves Felix and Mickey
loves her, she marries Mickey. Later, Felix and Ann
find reunion after Mickey's tragic death.
MARIE ANTOINETTE
From Austria to France comes the lovely Marie An-
toinette, to be the bride of the weakling, Louis, grandson
of the King. Unable to find happiness, she turns to
Count Axel de Ferson. When Antoinette becomes Queen
she realizes she must give up her lover. They are separated
until the outbreak of the Revolution when Ferson, learn-
ing of Antoinette's danger, reappears to arrange the escape
of the Royal Family. His plan fails when a priest recog-
nizes the King, and the unhappy pair are returned to
Paris, and death. The courage of the king and queen
lives after them.
THE GREAT WALTZ
When the Commercial Bank of Vienna
dismisses him, Johann Strauss gets a job
as musician in Dommayer's Cafe. His in-
spired performance there impresses Carla
Donner, a member of the Imperial Opera,
who invites him to play for her friends.
Strauss is deeply infatuated by Carla, but
after she ridicules him, he marries his first
sweetheart, Poldi. Years later, he and
Carla meet again, and realizing their love,
plan an elopement. Poldi unselfishly gives
them her blessings but, at the last moment,
the lovers separate and Strauss returns to
his faithful wife,
* * *
BOYS TOWN
With the aid of a pawn-broker friend,
Father Flanagan founds a happy, self-
governing community of boys who might
have ended as criminals. The most dis-
rupting influence among his charges is
hard-bitten young Whitey Marsh who,
after earning the enmity of the other
youngsters, runs away. Through his bandit
brother, Whitey accidently becomes in-
volved in a bank robbery and almost ruins
the good reputation of Father Flanagan's
school. However, when his innocence and
unsuspecting love for Boys Town are re-
vealed, he returns with the priest, and is
unanimously elected Mayor by the enthusi-
astic boys.
* H: *
MEET THE GIRLS
Homer Watson, the owner of a valuable
diamond, is travelling from Honolulu to
San Francisco with his wife, Daisy. Also
on the boat are Judy and Terry, two pen-
niless girls whom the Captain has put to
work, and Maurice Leon, a famous jewel
thief. When the diamond disappears, due
to Mrs. Watson's negligence, Judy and
Terry become involved and, in clearing
themselves, prove that Leon is the real
crook. The grateful Daisy rewards them
liberally.
* * ^
PROFESSOR, BEWARE!
Dean Lambert, a bespectacled young col-
lege professor, owns an incomplete set of
tablets which tell the tale of two ancient
lovers. Lambert believes he is the story's
hero reincarnated, and wants the last tablet
which will reveal his ultimate fate. When
he is invited to join an expedition leaving
New York for Egypt, he begins a crazy
cross-country dash, pursued by Jane, a
beautiful heiress who makes him marry
her. Jane's irate father separates the new-
lyweds, but they finally win his approval
and travel to Egypt together, which proves
that love will find a way.
12
$250,000.00 MOVIE QUIZ
winner! Read this carefully, for your chance to click is excellent
PRIZES
■st Pi'ize .$50,000 40 of $500 each
2nd Prize 25,000
20.000
40 of $250 each 10,000
2 of $ 1 0,000 each 20,000 300 of $ 1 00 each 30,000
5 of $5,000 each 25,000 5000 of $10 each 50,000
5 of $2,000 each 10,000
10 of $1,000 each 10,000
Total
$250,000
ALEXANDER'S RAGTIME BAND
"Alexander's Ragtime Band" was
especially enjoyable to nne as its
gay and sad songs brought back
many memories. I recalled the
happy times associated with the
beginning of jazz and the tragic
occurrences oif the World War.
Somehow, there's nothing so satis-
fying as reminiscing, and besides
the opportunity for this, the film
offers splendid acting and settings.
BOY MEETS GIRL
Everyone wonders what makes "the
wheels go 'round" In a big studio
and even though the answer in
"Boy Meets Girl" is probably ex-
aggerated, I loved the picture be-
cause it gave an inside, intimate
picture of a "film factory." I'd
rather lough than eat, too, and
there's a laugh a movie minute
in this riotous story. Fun is the
thing — and here It Is aplenty!
ALEXANDER'S RAGTIME BAND
Alice Faye, Tyrone Power and Don Ameche are all
members of "Alexander's Ragtime Band." While Don
had fallen in love with Alice at their very first meeting,
unknown even to themselves, Alice and Tyrone are in
love with each other. When Don sings a song he has
composed especially for Alice, she and Tyrone realize
their love. With Alice's withdrawal from the band, Ty-
rone leaves for war. Hurt by his attitude, she marries
Don. Years later, when Tyrone's orchestra has made him
famous, he and Alice are happily reunited. It is Don who
really brings them together.
BOY MEETS GIRL
_ Two Hollywood scenarists, who look more like colle-
gians than writers in their little round caps, have a great
idea. They plan to make a star of an infant, and before
it is born, become its godfathers, with power of attorney.
When the baby becomes famous, they forget to renew
this power which makes their own jobs insecure, and they
resort to a wild plan in order to retain their hold. They
are joyous when they outwit their scheming rivals, but
are really doomed to disappointment, for Susie, the
mother, suddenly ends her baby's career by taking' him
to England.
THAT CERTAIN AGE
Deanna Durbin is a fifteen-year-old who
thinks she has just found love. The ob-
ject of her affections is Melvyn Douglas,
a war-weary newspaper correspondent.
When she puts her whole heart into the
singing of the Waltz Aria from "Romeo
and Juliet," and addresses her song to
Melvyn, Jackie Cooper, her youthful boy
friend, is deeply hurt and turns to another
girl to get even. Deanna's parents, learn-
ing of her infatuation, conspire with Mel-
vyn and produce a woman whom Melvyn
introduces as his wife. Deanna's heart is
broken, but she recovers quickly and wins
back the still devoted Jackie.
* * *
HOLD THAT CO-ED
When George Murphy arrives at State
College, where he has taken a job as foot-
ball coach, he discovers that the college is
just a jerk-water school in the final stages
of dilapidation. John Barrymore, chief ex-
ecutive of the state, has just taken another
fat slice out of the college budget, and
there are not sufficient funds to pay the
new coach. George Murphy consents to
coach the team for nothing, however, when
he sees the anxious faces of the students—
and, realizing that it will help his fight
for U. S. Senator, John Barrymore gives
a certain sum to support State's team.
They win their final big game, and the
governor turns out to be not such a bad
sort, after all.
* * *
BLOCKHEADS
Oliver Hardy takes Stan Laurel home
to meet his wife. Mrs. Hardy cold-shoul-
ders Stan and angrily leaves the house.
The boys are preparing their own dinner
when the stove explodes and Patricia Ellis,
a neighbor, comes in to see what has hap-
pened. Mrs. Hardy returns unexpectedly
and Stan and Oliver, terrified, conceal
their guest in a trunk. When they try to
get the trunk out of the apartment, the
noise brings Billy Gilbert from across the
hall and, Patricia, hearing her husband's
voice, bobs out of the trunk. The boys
begm to run, with the furious husband
after them.
* * *
CAMPUS CONFESSIONS
Middleton College is in the doldrums
because Atterbury, Sr., their one man
money bag, clamps the lid on all athletics.
This makes Wayne Atterbury, Jr., poison on
the campus, particularly with Joyce, the
campus reporter— until he lands a straight
right to the jaw of his worst heckler, and
then, when he shows he is a whizz witli
a basketball, (Continued on page 17)
13
MODERN SCREEN
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14
Why turn a romantic lover like
Taylor into a he-man, asks one
fan.
$5.00 Prize Letter
Family Pictures
Are Hollywood producers coming down
to earth ? The answer is, "Yes, and it's
about time." For years the major studios
have been grinding out star-studded spec-
tacles and flickers saturated with phoney
sophistication. Now they're giving us such
down-to-earth and lovable pictures as
"White Banners," the Jones family pic-
tures, and the Judge Hardy series.
They are giving us people who can act —
actors and actresses who can act humanly
and with genuine warmth. Already we
have stellar performers such as Fay
Bainter, Claude Rains, Lewis Stone, Fay
Holden, Spring Byington, Jed Prouty,
Mickey Rooney, Jackie Cooper, Virginia
Wiedler and Donnie Dunagan. These
players have shown us that pictures about
the home and the family can be made much
more interesting than pictures about phoney
counts and runaway heiresses.
What theatre-goer is not touched when
he sees Mother Carey worrying over one
of her brood, or amused when he sees
Mickey Rooney in his first tuxedo? Why
not drag the movies out of the thin air
of fantasy and put them down right in our
own living-rooms?
We are getting a new type of picture
and a new type of star. We are getting
films and stars as down-to-earth and warm
as fresh baked apple pie. Hollywood,
you've a fine start for providing us with
real honest-to-goodness moving pictures.
More power to you!— Russell S. Burg,
Denver, Col.
$2.00 Prize Letter
Thanks for the Memory
These are the ten most memorable
moments moving pictures have given me.
Do you remember them?
For thrills : In "San Francisco,"_ a rag-
ged crowd marching over the hill into the
dawn of a new day for their loved city.
Hatless, courageous, united, triumphant,
they sang together the "Battle Hymn of the
Republic." The mile-a-minute, breath-tak-
ing, heart-rending power dive of Clark
Gable and his plane in "Test Pilot."
For pathos: Luise Ramier's beautifully
restrained heart-break in the wistful tele-
phone scene of "The Great Ziegfeld." The
fade-out in "A Star is Born" with Janet
Gaynor's gallant cry, "This is — Mrs. Nor-
man Maine !"
For high comedy : The immortal hitch- ,
hiking sequence in "It Happened One i
Night." The halting progress of Loy, |
Powell, and Asta in the hilarious dog- |
walking scene in "The Thin Man." :
For tragedy : The tender death of Norma j
Shearer in "Smilin' Thru" and the cou-
rageous death of Margaret Sullavan in i
"Three Comrades." I
For romance : The marriage of the "star-
crossed" lovers in "The Barretts of Wim- !
pole Street." In "Naughty Marietta,"
Nelson Eddy's singing "I'm Falling in Love
With Someone" to Jeanette MacDonald in |
a lazily floating canoe.
Ah me! — Mrs. J. R. Zimmerman, In- |
dianapolis, Ind.
$2.00 Prize Letter j
Bob Taylor |
Why all the fuss about cinematizing |
Robert Taylor as a virile, he-man sort of
chap? Just because a few people (and they
were probably envious males and frustrated \
females) had the idea that he was nothing !
but a pretty boy whose job was to make
love to glamorous gals isn't any true rea-
son to think he is a "panty-waist." It
isn't his fault that women hid under his bed, '
even swiped his vest buttons. Certainly it
isn't his fault that he's good-looking. |
One has only to consider Bob Taylor to \
know that he's a regular guy, a man's i
man. Of course, "A Yank at Oxford" gave
a couple of wallops to the pretty boy
legend, and in "The Crowd Roars" Taylor
finished the job by knocking the legend 1
to the canvas for a count. i
The point is this : A lot of us gals go i
thru life sans romance, or being contented
with just any ordinary sort of man who i
takes a shine to us. Seeing a handsome ^ ;
lover on the screen satisfies that secret j
desire of ours to be loved by someone |
whom all the world admires. After all, any '
brawny pug can fight or become involved I
in a brawl, but not every man can be the |
personification of woman's dream-lover. !
Valentino was that ; so is Robert Taylor. '
Yet, you have only to see them to know
they're masculine to the ninth degree. ^
Is it so wrong to bring happiness to us
old maids and plain ugly ducklings who
get our romance only via the silver-screen
with its Valentinos and Robert Taylors? —
M. F. Doner, Seattle, Washington.
$1.00 Prize Letter '
Gary Cooper
Gary Cooper is making another cowboy
picture, and I call that good news for fans
who like class A Westerns. Gary is an old
hand at this sort of thing. He was doing i
puncher parts when some of our modern
day screen cowlads were campus cutups.
Cooper really looks like a cowboy. He |
is lean and tanned, with a slow and quiet '
way of talking like one who has lived under
the stars. He even has the characteristic
squint. Furthermore, he can be depended 1
upon to dress the part. No silk shirts and
fluffy-haired chaps for him. Instead it will
be blue denim pants and dark flannel shirts.
I read that the film, tentatively titled,
"The Lady and the Cowboy," will have no
villain. That suits me swell. Not even
on the screen have I any use for mean
critters who use knifing tactics. — J. C.
Allen, Emeryville, Cal.
MODERN SCREEN
Frank, lively letters from fans to interest
everyone. Lucky winners get cash prizes, too
An admirer of Rudy's won-
dered how her daughter would
react to a Valentino revival.
$1.00 Prize Letter
Mother Won
My seventeen-year-old daughter sat awed
and breathless in the hushed darkened
movie theatre. She was seeing the immortal
Rudolph Valentino !
As I watched her, I felt a little glow of
pride. I had always told her stories of
the great Valentino, and she had listened
with a sort of amused patience, as though
thinking, "Let Mom have her memories,
but no one could ever compare with Gable,
Taylor, Power, or MacMurray."
And so, when the revival of one of
Rudy's greatest pictures, "The Son of the
Sheik," was showing at our theatre, I took
my daughter to see it, secretly praying that
the present-day screen-fare would not al-
together influence her against the different
charm of Valentino.
I need not have feared. As the picture
unreeled itself before our eyes, my daughter
sat eagerly watching and admiring the
great Valentino. I felt a lump in my
throat, and a tear in my eye as I, too,
watched Rudy as I had watched him fifteen
years ago.
When the lights were turned up, and
we slowly left the theatre in silence, my
daughter pressed my hand and whispered,
"You were right. Mom, he's swell." — Ada
Springer, Revere, Mass.
$1.00 Prize Letter
Ronald Colman
I want to say just a word in praise of the
most charming and talented actor on the
screen today — Mr. Ronald Colman. Sel-
dom photographed, infrequently inter-
viewed, and never built up by publicity, this
fine actor has remained on "top of the
heap" for several years now, thus proving
that the public still appreciates his fine act-
ing ability. (Con finned on page 81)
WRITE A LETTER-
WIN A PRIZE
This is an open forum, writ-
ten by the fans and for them.
Make your letter or poem brief.
Remember, too. thai your con-
tributions must be original.
Copying or adapting letters or
poems from those already pub-
lished constitutes plagiarism
and will be prosecuted to the
full extent of the law.
Following are the prizes
awarded each month for the
best letters: 1st prize, $5; two
second prizes of $2 each; six
prizes of $1 each. Address:
Between You 'n' Me, 149 Madi-
son Ave., New York, New York.
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MODERN SCREEN
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THE COUNTRY GENTLEMAN
{Coiitiiiiied front page 8)
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16
acquainted I asked all about it and ad-
mired his chickens each time I made a
purchase. I even went into town and priced
plows, but they were so expensive I went
right on growin' my produce by hand.
Then one day I heard they'd sold their
home and were moving. My business head
came to the fore and over I went to strike
a bargain."
Johnny chuckled, almost going into one
of his "scat-tee-scats," as he explained, "I
came home with the plow, twenty-two
chickens and a sack of feed, all for a hun-
dred and seventy bucks. Less than half
the price of a new plow! With my new
equipment, I figured to ease into this farm-
ing racket sort of quietly. All I need now
is a cow and we'll have all the comforts
of Indiana!"
We agreed it was certainly a start, con-
sidering the amount of space Mr. D. has
to work with. However, after seeing an
example of his carpentry it wasn't hard
to believe that he could do even more I
WHAT I'm trying to do now," Johnny
explained as we turned toward the
house, is trade my place back east for some-
thing out here. You can get more on a trade
than a straight sale. If I can find a house
with enough land, I'll let that go as a
down payment, then the rest I can pay
in installments. One month I can fix the
lawn or build a room and so on until I've
got everything finished. It will be like
rent and we'll never miss it that way. But,
I don't want enough room so's_ I'll be
getting a swimming pool or a tennis court.
Once you get them you're finished — and
it's goodbye to any savings then.
"I took a look at my bank book after
my first year here and got an awful shock.
I wasn't crying over spilled milk, but down
I went and hired a business manager. He
collects my salary and banks it, allowing
me just so much for expenses each month.
This next year will end up with a different
tale or I'll know the reason why ! I feel
better already, now that I've settled down.
As a matter of fact, I've taken to it so
rapidly that the other night when we
stayed out until eleven I really suffered
the next day ! Can't take it any more, I
guess.
"It's not like in New York when I
worked with orchestras. I worked nights
and slept days and got used to the grind.
Since coming here, I work by daylight
and sleep by moonlight. But, _ I haven't
forgotten my ole trumpet. No sir! There
it is and I keep it well oiled and do a
bit of practicing now and then — just to
play safe. You can never tell when they'll
get tired of me, so I'm pounding my A's
often in. case I have to go back to work!
"Fact is, not long ago, before they took
up my option, I thought my time had come.
I hadn't heard from the studio and got a
little worried. Then I got a call from
M.C.A. and they wanted me to take out
an orchestra, at more money than I had
any right to collect. I went down and
heard the boys and they were pretty good,
too. With a couple of weeks' rehearsal
we could have whipped up something darn
nice. I even had the itinerary set when
they called me back to work, saying to skip
any idea of a vacation. So, I climbed out
of the orchestra pit and into some grease
paint to scat-tee-scat a little. At that,
guess I'd be kinda lost without my trumpet
and shoutin'. I did one picture that was
a straight part and I was running around
in circles. It was a 'B' and they shoot,
cut and sbow tliem in seventeen days !
Well, I'll admit I don't want to do any
more like that. They're too hard. Guess
I don't know enough about acting and
should stick to my music, eh?
"You know, it seems kinda funny I
should be making my living playing
and singing the hot stuff — swingy songs,"
Mr. Scat Davis reflected, serious for the
moment. "My Dad had me playing a horn
when I was three, but didn't allow me to
play anything except good stuff. No jazz
for him. But, I sorta slipped in a little
every now and then on the side. He was
instructor of music and conducted the
Brazil (Indiana) Concert Band. I re-
member when I was about twelve and my
uncle came from Terre Haute to ask Dad
if I could come up and play in an orchestra.
There was a shortage of trumpet players
and the job paid twenty-five a week. Dad
said, 'No!' most emphatically. But, by
the next time he came, Dad decided that
twenty-five bucks was good money, even
though you had to play jazz for it. So,
up I went and from then on I've been
working steadily. You see, my studies
were arranged so I went to school morn-
ings and had the rest of the day free. I'm
crazy about orchestra work. I even had
my own once in St. Paul. I was with
Fred Waring longer than any other per-
son. That's how I came to the coast. Fred
made a picture. Then when I got the
chance to stay, I jumped at it, for it meant
my dream come true. At last I would be
in one spot long enough to have a place
of my own."
Hearing Mr. D.'s thumbnail description
of his past left little wonder that he could
woo, and win, the daughter of the oppos-
ing movie theatre chain. Fact is, Mrs.
D.'s Dad operated all picture palaces in
the town except the one that Johnny was
packing in the cash customers. I'm afraid
that our hero is the "impulsive" type, for
he courted his gal seven years before trip-
ping to the altar !
So, if you read, in the near future, that
Johnny Davis has become one of southern
California's successful farmers, be sure
that he's fallen heir to a nice long-term
contract, minus, of course, too many of
the usual options. They are Mr. D.'s
boogy-boo and as Johnny says, "Give me
a house, a dog and some land — with no
options — then I'll live a happy life — whoa-
ho-de-h-ho and scat-dee-sca-at !"
Jane Wyman is Johnny Davis'
big moment in "Brother Rat."
You'll admit she's cute.
MODERN SCREEN
(Continued from page 13)
he is actually "in" at last. That year
Wayne makes the team and Middleton
soars into athletic prominence. Joyce at
last realizes she is in love with Wayne,
and when Atterbury, Sr., tries to stop
the big game, they convince him that love
and basketball are too important to be
trifled with.
* * *
LIHLE MISS BROADWAY
Betsy leaves the Madrey Orphanage to
live with Pop Shea and his daughter, Bar-
bara, who have adopted her. Pop is the
proprietor of the Hotel Variety, home of
vaudeville stars since the turn of the cen-
tury, but now in its seedy days. Betsy
makes many friends in her new home, in-
cluding Roger, the nephew of crochety
Sarah Wendling, who turns out to be the
owner of the hotel. When Mrs. Wendling
threatens to cut Roger off from his share
of the Wendling estate, because he has
fallen in love with Barbara, he brings suit
against his aunt. It is Betsy, finally, who
wins both the suit for Roger and Mrs.
Wendling's heart.
BREAKING THE ICE
Because he is anxious to make money
to take his mother to Indiana, Willy sells
some very old newspapers to an antique
dealer named Terwilliger. But the money,
he realizes, is not sufficient and he decides
to try his luck in the city. He hides in
Terwilliger's wagon, drawn by a mule
named Chippendale, and arrives in Phila-
delphia. Pinch-hitting for a five-year-old
skating star, he becomes famous over-
night. He returns home, however, because
Terwilliger has cheated him, and finds that
he is suspected of stealing a twenty-dollar
bill belonging to his uncle. He concludes
the bill must have been mixed with the
newspapers be sold Terwilliger. After a
mad search, they find the money, and Willy
realizes his dream. He takes his mother to
Indiana.
5}^ * *
MR. DOODLE KICKS OFF
Ellory Bugs offers a huge donation to
his alma mater, payable only in the event
his son, Jimmie "Doodle" Bugs becomes
a football hero. Doodle refuses to have
anything to do with football until the
President persuades his daughter to use
her charms to get him to play. The ruse
works and in his first game, his unortho-
dox submarine play followed by his para-
chute play are the high spots of the game.
The final game of the season arrives and
Doodle once again comes through for his
team and they win by a single point.
IN OLD MEXICO
An escaped prisoner. The Fox, swears
revenge on Colonel Gonzales and Hopa-
long Cassidy, who has brought about his
capture. He is aided by his sister, Janet,
and causes the death of the Colonel. Hopa-
long, with the help of Anita, the dead
man's grand-daughter, and his friend.
Windy, outwits the Fox and his men, and,
in an attempt to shoot Cassidy, the bandit
kills his own sister.
SAFETY IN NUMBERS
After a guest appearance on the radio
as the "world's best mother," Mrs. Jones
agrees to go on the air in a series of broad-
casts on domestic problems. The program
is sponsored by Mr. Edmonds, President
of the company controlling the Barton
Springs, site of a new mineral vi'ater dis-
covery. Mr. Jones becomes very much in-
terested in the new mineral, and per-
suades Mr. Emmons to allow the citizens of
Maryville to invest in the "good thing."
The spring is discovered to be a phoney
and the swindlers, having made a quick
getaway, are tricked into returning by
Mrs. Jones. The money is finally returned
and the crooks are arrested.
THREE LOVES HAS NANCY
Bob Montgomery, a successful novelist,
goes to a little southern town to elude a
designing actress, and meets Janet Gay-
nor, who is about to be married. When
Janet's bridegroom fails to appear, she
leaves for New York to find him. She
visits the apartment of Montgomery who,
having been advised that the actress is
gone, has also returned to New York.
Without realizing it, Bob has fallen in
love with Janet, as has his best friend.
Their argument over her is complicated
by the arrival of Janet's fiancee, but Bob
proves the most successful of Janet's three
GIVE ME A SAILOR
Letty is the ugly duckling sister of
Nancy Larkin. Walter, the man they both
love, gets shore leave. Also, he is marriage-
minded. Each sister determines to land him.
Through a mix-up, when Letty enters her
home-made cookies in a contest, a shot of
her lovely legs are included and so she
suddenly finds herself a winner. She wins
a man, too. Not the one she planned on,
but one equally good.
(Continued on page 113)
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MODERN SCREEN
^^?^f^...£4G£CVfMi.. O^^ ITS LIFE... GLORIFIES ITS ARDENT
LOVE . . . IN THE GREATEST ADVENTURE OF THE GREAT WAR !
A picture dramatically presenting two
young stars destined for instant fame
... in the heroic story of the wooden
cockleshells that won the Navy's
greatest honors! Produced on a
spectacular scale by Darryl F. Zanuck!
Masterfully directed by John Ford!
RICHARD GREENE -NANCY KELLY
PRESTON FOSTER • GEORGE BANCROFT
and
SLIM SUMMERVILLE • JOHN CARRADINE
JOAN VALERIE • HENRY ARMETTA
DOUGLAS FOWLEY • WARREN HYMER
MAXIE ROSENBLOOM • ELISHA COOK, JR.
J. FARRELL MacDONALD • ROBERT LOWERY
Directed by John Ford
Associate Producer Gene Morkey • Screen Play by Rian Jomes, Dorrell
Wore and Jack Yellen • From a sfory by Roy Milhollond and Charles B. Milholland
Darryl F. ZanUCl< in charge of Production
18
DREAMERS WHO DARE TO MAKE THEIR
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MEN WITH WINGS
PARAMOUNT'S ALL TECHNICOLOR CAVALCADE OF AVIATION
A MOVIE QUIZ $250,000.00 CONTEST PICTURE
22
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FOR the first time on any screen and
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with
FRED MacMURRAY • RAY MILLAND
5=!= LOUISE CAMPBELL -r;^:^^
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Kitty Kelly • Virginia Weidler • Donald O'Connor
23
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25
,rs. Temple and their famous Utile daugh
hirley, start out on one of their many sighl
seeing tours. ^
Reporters to right of her, cameramen to left of her
— but none phase La Temple. She is mistress of
every situation.
A HOLLYWOOD radio columnist was on the air,
reading an open letter, and in millions of homes Shirley
Temple fans heard him hurl a serious charge at the
mother of America's most famous child.
Before Mrs. Temple left Hollywood, he said, he had
had a heart-to-heart talk with her and she had told
him that she was planning a real vacation for Shirley,
one that would take her out of the spotlight and into
the sunlight. Naturally he had been delighted when
he heard that, but since then he had been thoroughly
disillusioned when he learned that elaborate prepara-
tions had been made for the trip, that a press agent had
accompanied Shirley and had arranged all sorts of
publicity stunts, such as having her crowned princess
of an Indian tribe, made a Shriner, and elected a mem-
ber of the Junior League at the north rim of the Grand
Canyon.
All of those things, the columnist asserted, might
seem amusing to adult members of the party, but had
they stopped to think what they meant to Shirley? To
Shirley, taking part in all those stunts was depriving
her of the vacation she had been promised.
At the very moment this speech was being made, a
party of ei^it tired travelers landed in Craig, Colorado,
in two cars, in one of which Shirley Temple, her mother
and father traveled. In the other was Jack Mulcahy,
the press agent who had been criticized, a maid and
chauffeur and two bodyguards. As night was falling
and the Temples did not wish to do any traveling after
dark, Jack Mulcahy stopped a passerby and said,
"What's the leading hotel in this town?"
"There ain't no hotel," said the passerby, "but there's
a tourist camp a little way up."
"We stayed at the tourist camp," Jack Mulcahy told
me. "When we arrived there, I told the proprietor
that I wanted accommodations for eight people. 'That'll
be $13.50,' he said, 'payable in advance.'
"One of the members of the party is a child, I told
him, as Shirley came out of the car. 'Okay, that's
seventy-five cents less.'
"As Shirley stepped out of that car, the proprietor
yawned, not realizing that the most famous child in
the world was a few inches from him. There were
eight other people at the tourist camp, but, weary from
New York's Governor Lehman entertained for
Shirley at his country estate. Now she has a
new fan — Spook, a Great Dane.
. Am
Shirley's tour included every experience from a
night in a tourists' camp to a day at (tie White
House, and she'll never forget it.
BY DORA ALBERT
Where did you spend your vocotion?
Little Miss Temple took in the whole U. S. A. nnd,
whnt's more, hud the time of her young life doing it
traveling, they didn''t notice Shirley. They went to
bed early and left the next morning before we were
awake, never realizing that they had slept in the same
camp with the famous child star.
"Does all that sound as if we had made elaborate
preparations for the trip? We hadn't. When the
Temples liked a place, we stayed for several days.
When they were bored or it was very hot, as it was in
St. Louis the day we were there, we left the same day.
"The heart-to-heart talk the columnist said he had
had with Mrs. Temple never took place, as he has not
seen her in two years. And all the publicity stunts
to which he said we had subjected Shirley were fig-
ments of the imagination. She was not crowned prin-
cess of an Indian tribe; in fact, the only Indians she
saw during her entire trip across the continent were
the silversmiths in Bryce and Zion Canyons. She was
not made a Shriner. Since only men are admitted to
the Shrine, she would not have been eligible, and she
was not elected a member of the Junior League at the
north rim of the Grand Canyon. The truth is there
is no such organization there."
"And so, let me tell you the first true story of
Shirley Temple's vacation trip.
"Determined not to commercialize it, Mrs. Temple
turned down an ofifer of $350,000 for personal appear-
ances by Shirley, and also an offer by a famous syndi-
cate of $15,000 for a day-by-day account of Shirley's
progress across America.
"We left Hollywood on May 31st, and one of our
first stops was Boulder Dam. With awe Shirley looked
up at the eight giant electric generators, one of which
gives enough power to light a city of 300,000, and
exclaimed, 'What a wonderful movie set that would
make, wouldn't it!'
"Because she had never been inside any school save
the schoolhouse on the studio lot," Mr. Mulcahy con-
tinued, "Shirley was anxious to see the kind of school
to which other little girls go, and the principal of the
Government School at Las Vegas, Nevada, offered to
take her into all the classes. With interest, Shirley
stared at the blackboards, and at the crayon drawings
done by students. T do that kind of work, too,' she
confided to one of the teachers. (Continued on page 88)
- P B 0 t ^
• V U ^ ^ nnncetheHedy
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that hencefo'* the
buxom, ? „„ndanK"'° ijils and w""
serious PS"jebeianPfy only «as » |'
believe « oi
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tested no ^ ^-'^ to tni"'' *^ sett-S S i<"
iWan6"ir„e are " „, and that j
to gaw'-YEitopean f'f^st pt"'""!^ he' I'viennese
shuffle of J^-^ne^ *ritr»f«"rC tUdl'-'S?*'' 'she is
B«*^'\^nt an e|»^^ Man^y. con.pan.on.
«ood- . , uves «•* "^'id. secretary
who »
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^^orgtrn-ivrthe*^-"'"-"*:.
are sure sM ^^^„ »a ,^ „t sepa«"°V;h('
proSnent ^^C^tstanf^^f Either you love
'^T?^ have ^Sy Wted. J'^^^^d on ^
ring ^ " she candvdiy * m see ^t.
as the v'-^t^^V^tz >4an6\, ^he^^^^ ^et and ai ^
Sons tnaker^^sfria's sn^rt s^^^^^^ «
1^^"' ^Continental hostess. |
NEVER OLT OF
HE WAS just a little kid, maybe eight years old, maybe
nine. He'd hitch-hiked all the way from Connecticut to
Boys Town, which is twelve miles out of Omaha. I was
tliere when he came in," said Spencer Tracy. "There
were sores on his feet and hollows under his eyes and he
had an old, mangy, moth-eaten cat clutched to his skinny
front. He hadn't washed for days. Nor eaten either.
Nor laughed. Father Flanagan didn't have any room for
him. Boys Town can only take care of 200 boys at a time
and it was full-up. But he took him in. There's one
place on earth, I guess, where there's always room where
there isn't any room — and that's in the heart of a man
who cares about kids.
"Well, Father Flanagan took the kid in. And the kid
"I wonder," Spencer was saying, "that any one of us
out here dares to open our traps to use the word 'hard-
ship.' What do we know about hardships? There can't
be any more stories written about the 'Hardships of the
Stars'. Who would give one? Not me. We moan we
have no 'private lives', no privacy. But wouldn't we moan
louder if any one of us could walk, footsore and starving,
from Connecticut to iSIebraska, with no one to give us so
much as the eye ?
"What we've really got to complain about," said Spencer,
"is that we don't get out of our cotton wadding often
enough to realize how soft it is, what rags and straw and
outhouses the 'other half live in."
In Hollywood it is a favorite form of research on the
Taxi drivel
There's a deep, dark secret behind Spencer
Tracy's success and-here at last it is revealed
said, T have a confession to make to you. Father. I
haven't had anything to eat for forty-eight hours. But
I stole six quarts of milk on the way out — for the cat.' "
There was a silence in the portable dressing-room on
the Boys Town set where we were talking. The silence
was broken by Spencer, sitting there in the black vest-
ments of Father Flanagan. . He said, "Certainly
makes you appreciate your rations, things like
that. . . ."
I didn't have to be told what Spencer was thinking.
It was all there in his eyes ... he was thinking
of the kids out here in Hollywood, in California
and other over-privileged places, his kids and the
kids his kids play with . . . sun-tanned and
well-fed, with ponies and swimming pools and
all the vitamins in their diets and love as gener-
ous as the California sunshine to warm them.
He was thinking of those other children, too —
the underprivileged ones whom he had seen
while on location at Boys Town.
And I was thinking that I was on the track
of that much-discussed question of what
makes Spencer Tracy the great actor he is.
part of directors, players, writers, to try to divine just
what quality in Tracy makes his greatness. He has said
of himself, "I've never seen an actor who looks like me."
So it isn't his looks. He doesn't seem to "do" anything,
folks say. He has no tricks. He doesn't work for effects.
Then why is it that he can stick a wad of chewing gum
on the tail of a plane and break your heart?
"It's the look in his eyes," Fredric March will tell you.
"Such a look, nameless but inescapable, so that you can't
keep your eyes off him no matter who else is playing a
scene with him."
"I've never seen Tracy when he wasn't magnificent,"
said John Barrymore. "It's because he knows in his blood
what he's doing."
"I wish I could be exactly like Spencer Tracy," carolled
Freddie Bartholomew, Mickey Rooney and Jackie Cooper
when, separately, I asked each one what screen actor he'd
rather be like when he grows up.
"I think it's because he cares about people," vouchsafed
Mickey Rooney when I asked him how he would define
Tracy's greatness. "And the way he cares shows through."
"It's tliat look in his eyes," said Bob Taylor. "I have'
sat on the sidelines by the hour {Continued on page 94)
31
MARTHA
And when Mrs. Rogers takes the
KERR
I'VE BEEN learning about Ginger Rogers. I've
learned that in the last six months she has been out
only twice for dinner. I've learned what it is she
wants out of life. I've even learned about her faults
and her fears and her boy friends, and a little about
the type of man she may marry. I've learned these
things from the one person who knows her best,
Lela Rogers, her mother.
Ginger was in California, finishing "Carefree"
with Fred Astaire. Three thousand miles
away, in New York City, Lela had set up
housekeeping. It was their first separation.
The rumors flew. They said Lela had
leased that apartment so Ginger, over-
worked, could have a normal life be-
tween pictures. They also said Lela
and Ginger had broken for good.
Jimmy Stewart squires
Ginger on one of the few
dates she's had time for.
SPEAKS HER PIECE
Stand, there isn't one in the jury who isn't convinced and converted
Neither report is true. Both hurt the Rogers women.
"My job with Ginger is finished," Lela Rogers said to
me. "Until a couple of years ago we discussed every
problem, personal and business, together. Sometimes we
differed, but in the end we always saw alike. Two years
ago I realized Ginger was grown-up. She had to make
her own decisions, her own mistakes. I had to be honest
with myself. I've never regretted any of my experiences.
To me the greatest sins are those of omission ... so I let
Ginger alone . . . to learn. "And," Lela heroically admitted,
"it is in those last two years that Ginger has made the
most strides, become a woman. Certainly her acting
shows it very clearly.
"However, you laid the foundation," I interrupted.
"You might call it that," she said. "To me Ginger is
like a diamond on which a cutter has labored for years,
bringing out every facet by careful work. But she was a
good diamond to begin with. She had to be, or the work
would have failed.
"I came East to take up my own life, to pick up the
threads of my original writing career — to get away from
the label 'Stage Mother.' As for breaking with Ginger,
that, of course, is utterly ridiculous — plain idle chatter!",
Then she told me. Ginger telephones her every other
night. And there are innumerable wires and letters in
the inimitable Gingerish manner. One morning Lela
received a brief telegram containing the simple single
statement, "Time to get up."
Before Lela left. Ginger had started a new hobby,
modeling. She had begun Lela's head in clay. All
the time Lela packed, Ginger sat on the bed, staring
with the intentness of the artist, trying to memorize
her mother's features. After Lela arrived in New
York, there came a cryptic wire : "Am glad you
are going to have a good time but why did you
have to take your head along?"
Also, the week of her mother's departure,
Ginger had been invited to take part in a
tennis tournament. She is a superb athlete,
but of late has been working so hard at
the studio that there was no time for
tennis practice. So, accepting the in-
vitation, Ginger called her pals with.
"Listen, kids, you've got to practice
tennis with me every night this
week." The result was she won
all games until the semi-finals.
(Continued on page 99)
SHE
This intimate character study of Sonja Henie reveals a side you never knew
Sonja may look
like a doll but
there's nothing
helpless about
little Miss Henie.
BY NANETTE
K U T N E R
WHEN I questioned about
Sonja. Henie, the press agent
said, "Romance is cold."
And the fans outside her state-
room door had demanded that I
ask Miss Henie about Richard
Greene. "That new partner of hers,"
they called him. S T-^f-!
The ship news reporters asked it " "
first. There were two of them, a man
and a woman. The woman took the lead.
"What about Richard Greene?" she asked.
The man echoed the question, "Yeah, tell
us, what about him?"
Sonja turned a cold cheek. She said,
"I am only with him in the picture."
"And in the gossip columns," snapped the
woman reporter right back at her.
Sonja tried to laugh this off. She has learned
in America. She knows all the "I tank I go home"
answers. So she said, "We are very good friends."
That went for Tyrone Power, too.
Later, she gave herself away. We were seated in
the bedroom of her suite on the "Normandie." "We"
were her mother, Sonja and I. Outside, in the living
room, swarmed a crowd, assorted executives, press
34
agents, a
man from
Madison
Square Gar-
den and a man
delivering a
new fur coat.
Sonja perched on
the edge of one
twin bed. .She
swung her sheer silk-
stockinged legs, their
feet in size three ex-
tra high heeled opera
pumps. I remarked on
the heels. Most athletes
wear oxfords.
'High heels never bother
me," she said.
But then, nothing bothers her.
Sonja Henie is a healthy per-
son with herves of steel. She
gives that impression. She wore
a pin-striped navy blue tailored
coat trimmed with a crisp white
pique collar. The coat fitted per-
fectly. The up-turned felt hat
matched and was decorated with a pin,
a diamond reproduction of Sonja, skat-
ing, with one leg in mid-air. It was a
cute pin. It would have looked smart on
a black afternoon dress. Now it spoiled
the tailored effect. It was just a little too
much. So. was the strap under her chin.
On-screen Sonja's clinging, feminine
and fragile — off, she's as substantial
as pretzels and beer.
Sonja Henie loves clothes. She knows values. Yet she
will never be rated as one of the best dressed women in
Hollywood. She has so much yet to learn about the subtle
art of sartorial simplicity.
She started toward the small living-roorh. The crowd
was chattering away, anxious to reach her. She looked
at me and smiled and said, with that faint trace of accent,
that slight misplacing of words, "It's not nice for an
interview, is it?"
I was just about to say no, it wasn't, when a side door
burst open and a tall girl came rushing at Sonja.
There were delighted shrieks on both sides. Even
Sonja's mother shrieked and bal)bled something in Nor-
wegian. The girl was the wife of one of Sonja's business
associates. They hadn't seen each other in months, not
since Sonja had started something new by ice skating in
normally snowless Florida.
It was when she met this girl that Sonja gave herself
away. Just like anyone talking to her chum, she wanted
to tell about her boy friend. The very first thing she said
was, "What do you think of my new leading man?" She
added a few words about red hair and dimples, and
seemed more than pleased when her friend said she
thought Greene and Sonja look alike.
Then she remembered me. She turned quickly, smiled
and glanced down at her corsage of orchids.
"Do you like orchids?" she asked.
"I love them," I said.
"Every woman looks well with them," said Sonja.
Then she added slyly, "I have twelve orchids . . . sent
me." She paused significantly.
It was my turn to exhibit the cold cheek. I would not
be bribed. The Richard Greene paragraph was in this
story to stay. So Miss Henie talked about her home in
Sonja on the set with Richard
Greene and Cesar Romero whom
she dates for publicity.
Hollywood. "It is very nice," she said. "It has a swim-
ming pool, you know. I like living in California."
At ten o'clock that morning Sonja had telephoned, sug-
gesting I meet her within fifteen minutes at the boat, in
cabin one twenty-four, so we could have some time alone.
I got there on the dot. Miss Henie showed up at half-
past eleven. She'd been detained by photographers.
IN THE meanwhile I waited. I talked to the fans
who clustered outside the cabin door, a matron from
Jersey, a skinny girl with glasses, three school girls from
Brooklyn, a candid camera fiend and a middle-aged
woman who, from the knowledge she graciously imparted
to me, must have read every press clipping ever sent out
about Miss Henie. Because these were her fans I in-
quired of them just what I should ask, and it was
they who suggested Mr. Greene.
For ten cents the "Normandie" lets you buy a ticket
to see the boat. They had bought their tickets. But they
had come to see Sonja Henie. "We read that she was
sailing," they said.
"The 'Normandie' is one of the greatest boats ever
built. You ought to .see it," I hinted, fearing for tiic
privacy of my interview.
"We want to .see Miss Henie," they chanted.
And they did. Fir.st came three hat boxes, twelve suit
cases and Mrs. Henie, carrying a blue fox cape and a
mink coat, then Sonja, who turned on that smile and
.said that if they would send in the pictures she would
autograph them. After that, she exj>ertly whisked nir
into the cabin.
Meeting her is a shock — and a pleasant one. Here is
none of that dainty, fragile pink-and-white-frosting-on-
a-cake beauty which is hers on {Continued on page 91)
35
IS DOING
SEE THAT man over there?" said Dick/ nodding across
the room. "He has a new baby, too. At the hospital he
had the room across from ours."
The room across from ours ! Well, in a way, that
foolish-sounding statement was true, for when one Joan
Blondell Powell gave birth to one Ellen Powell, weighing
eight pounds six ounces, on June 30th, Papa Powell just
about moved into the hospital, too.
It was eight o'clock in the morning when Dick bundled
Joan into the car, and set off on that long awaited trip
to the Cedars of Lebanon. A few minutes before he
had phoned the studio to say that he wouldn't be coming
to work. "It's here!" he had announced ecstatically and
prematurely, and that was what threw the studio into
so much confusion. The word spread that the baby had
been born at eight, and yet no one could discover during
the next few hours exactly what it had been, a boy or
a girl. The baby didn't arrive until after four in the
afternoon, but Dick was too jittery between the hours
of eight and four to even be reached on the phone.
"I had only one disappointment about the whole thing,"
he admitted at lunch, smiling ruefully. "For months I
had been planning that automobile trip to the hospital
with Joan. I had it all worked out in my mind. I would
break every speed law, ignore every stop sign, go through
36
£ HARTLEY
every red light on the way. Then when I heard a siren
screeching, I would give it even more gas. Finally, of
course, the law would catch up with me, then I would
say my little piece, 'Sorry, old pal, but the lady has to
get to the hospital !'
"Then, just like I had always seen it in the movies, a
glow of sympathy would come into the copper's eyes.
More sirens and more speed, only this time the cop would
be ahead of us, an escort all the way there! You see,"
explained Dick, "I've known what it is to get a ticket
in my time ! I've tried all the excuses I could ever think
of, but I always got the ticket anyway. For once I was
going to have the pleasure of a real excuse, and for once
a cop was going to grin and not yell at me.
"Now that fellow over there," again Dick indicated the
other new papa in the room, "he really did have that kind
of luck. On his way to the hospital that same morning ,
they did try to pinch him. But nobody even looked at
us twice ! I went through a stop sign and almost brushed
a state patrolman off his motorcycle seat, but he was
parked there talking to another patrolman and they were
too engrossed to even notice that it was a car instead of
the wind that went by. We didn't even get a tumble!"
Again Dick regarded the other papa, envy in his eyes.
"But he's a nice fellow, very nice. {Continued on page 86)
I
Yes, Dick Powell is holding his own in spite of a
new star in the family! In fact, he's taking bows
Young Paderew-
ski (Norman Scott
Powell to you)
has a new baby
sister and is her
papa proud I Of
course Mama
Joan Blondell
isn't! Oh, nol
LOOkING FOR LOVE
I KNOW it will happen to me some day," says Olivia, woman has a right to be as beautiful as Olivia." But
"for, after all, I am only a woman." Livvy doesn't let her loveliness throw her nor even occupy
By which Olivia means that, being a woman, she knows much of her time and thought. In fact, when I met Ohvia
that she will fall in love some day. the other day for tea I was that taken aback. For she
We were talking about "lerve," Livvy and I. Any man was clad in a smart black frock with a vivid floral design
would say, "Well, what else would you talk to Olivia of scarlet, and a wide black hat tied under her chin. She
De Havilland about ?" The way men feel about that girl ! wore a dash of lipstick, carried a smart purse, wore sheer
As Jimmy Fidler said on the radio one time, "No mortal hose and good-looking sandals. I was taken aback be-
;
"When I fall in love
I want something
honest and substan-
tial," says Olivia. "I
want to know I'm not
dreaming,"
cause Olivia is generally in a skirt called shapeless, a
sweater which has dropped many stitches in the course of
wear and tear, a purse that doesn't match anything and no
more make-up oil her face than a mermaid.
Maybe, I thought, maybe Livvy has met her "Dream
Prince." That would account for the change.
So I brought up the good old themes of love and
romance. Livvy never would, let men think as they will.
I was curious, anyway, about all the rumors printed in the
papers when Olivia went abroad a few months ago. One
story regaled us with how Olivia was going
to England for the express romantic pur-
pose of wedding one Lord Mitchelham.
Another story gave us to understand that
Olivia was bound for Budapest, because
she'd "had a premonition" that there she
would find her "Dream Prince." So I asked
her. And when I said the words "Dream
Prince" Olivia screamed. Olivia screamed right out loud,
with her mouth roundly open. And when Olivia screams
it's no lamb's bleat, either. She said, "Isn't that Too re-
volting ! I can't imagine anything more silly. I'm proud
to say that I've never thought of such a thing as a 'Dream
Prince.' As for the story about my wedding one Lord
Mitchelham, I read it and was floored. It didn't cause me
any acute suffering because it was so silly. But I wasn't
amused, either, because I don't like untrue things to be
printed about me. Especially stupidly untrue things.
"When mother and I got to England we ignored the
thing, but a friend of ours consulted 'Burke's Peerage' just
to find out whether there is any such person as I>ord
Mitchelham. There is. He does exist. And he is over
forty — and married. I'd never met him in my life. I
haven't met him yet. When we got back to New York
romance.
BY FAITH
SERVICE
the reporters met us. They asked me about 'my peer.' I
said that I'd never heard of the man until I read about
him in the papers. They said, 'So you won't talk, huh?'
And then I read little pieces about how I'd been overheard
crying in my cabin on the way home, the inference being
that I'd been 'stood up' at the altar.
"Now, I've never been stood up at the altar in my life.
And if I was overheard crying in my stateroom it must
have been on the trip to England, not on the trip home.
For when I went over I was nervously exhausted, feeling
simply horrible. I was feeling low in my mind and un-
happy for no reason whatsoever. I felt so miserable that
I hate to think about it now. I went away to get a rest,
to check up on myself. I even used assumed names to
escape attention over there. I came back feeling pretty
fit. I also came back with my heart doing a normal beat
and, I might add, completely whole.
"I am not," continued Olivia disdainfully, "in quest of
I am not looking for love nor expecting it nor
even thinking about it. I hate to talk about
love. How can anyone talk about love?
What is there to say about it ? I am neither
looking for romance nor am I running away
from it. When it comes, as it undoubtedly
will, I just hope that I'll have the intelligence
and wisdom to handle it wisely.
"I don't dream about 'him.' When I am
talking with girl friends we do not discuss our 'Dream
Prince.' That term revolts me. I don't romanticize every
man I meet. When I go to parties I never think, 'Maybe
. . . tonight ... I will meet my Fate !' I think that the
women of a generation ago did just this. But I am of
this generation and — we don't.
"I think that the women of the last generation lived in
a world of half-reality. They never really grew up. They
sat around romancing about Galahad or Prince Charming
or the elder Barrymore and so they didn't recognize good
old Joe Doakes when he came awooing. I think tiiat's
why there were so many frustrated old maids, so many
girls going into 'declines.' They were always waiting for
the shadow. They were dreaming instead of up-and-
doing. They starved to death emotionally because they
waited for Sir Galahad and {Continued on page [06)
39
"I was sitting on top with-
out having had to cUmb/'
says Lew Ayres, "and it
can't be done."
LEW AYRES' "resurrection" from
B, C and D pictures has stirred Holly-
wood, appealed to it as no other
resurrection has done since Elaine
gave us John Barrymore again, all
done over and good as new.
When George Cukor's "Holiday"
flashed across the screen, people an-
swered the question, "Is it true what
they say about Hepburn?" by heaping
laurels upon her. But the big surprise
of the picture was not Hepburn's ten-
der performance. It was not the depth
and finish of the production, nor was
it the ace anticking of Gary Grant.
No, the big surprise of the picture
was the "come-back" of Lew Ayfes.
Everyone was carolling, "It is true
what they say about Lew Ayres — he
has come back."
Not a critic, not a fan, not an actor,
director or producer but what men-
tions "Holiday" and then says, "A
grand picture, and boy, what a come-
back Lew Ayres has staged !"
For the young man who, nine years
ago, scored so spectacularly in "All
Quiet On The Western Front," the
handsome young man who was con-
stantly intriguing public interest by
his performances off and on the
screen, by his marriages, first to Lola
Lane, then to Ginger Roger?, by his
talking to Einstein, by his interest in
astronomy, in music, in sculpture . . .
that young man seemed to be sucked,
gradually, into the morass of B, C and
D pictures from which so few are
ever able to return.
In short, the name of Lew Ayres,
once a name to be reckoned with, be-
came, why, no one could explain, a
name to reckon with no more. Young
Lew Ayres was becoming too quiet
on the western front.
There seemed to be no sufficient
reason for this comparative fade-out.
Everyone was aware that Lew was
working. Now and again he would
rise above the surface, playing rather
unimportant roles in rather unim-
portant pictures. You would see him
about town, though infrequently, and
his grave good looks were as dark as
ever. You would read that he had
turned director. Then nothing would
happ>en for a long time.
You knew that Lew Ayres directed
a picture called "Hearts in Bondage."
That stirred a ripple of interest. Oc-
casionally, you were reminded that
Ginger Rogers and Lew are still mar-
ried, at least not yet divorced. Now
and then the (Continued on page 97)
Binnie Barnes
says she still
loves her ex-
husband, but —
DIVORCED
BINNIE BARNES' best friend is, believe it or not, the
man she divorced.
You've heard that line before. This time it happens to
be true. No one is closer to Binnie than Samuel Joseph,
and one can judge from Samuel Joseph's actions that
no one is closer to him than Binnie. Some day they
may re-marry. Time will tell.
Their case is unique in this, that if any other Holly-
wood actress ever left her husband for similar
reasons none has so frankly acknowledged it. Binnie
is that rare bird who says "nuts" to Hollywood
taboo. She can't be bothered with tricks and eva-
sions. She lives her life according to her own
honest lights, let the chips fall where they may.
The screen is her job, and she loves it. But if
she's got to pull a line of boloney to keep
her place there, then nuts to the screen too.
It's not worth the price.
She's that modern girl you meet in
magazines and movies, the girl
who's been faced with the
necessity of
choosing
between husband and career. She made her choice as
she felt she had to make it. There's no issue of right
or wrong involved. What might have been right for
you or me or Sally Doakes would have been wrong
for Binnie.
She's been on her own from the time she was
fifteen. Untrained, unbacked, she set out to find her
place in the world. From factory drudge she pro-
gressed through clerking and rope-twirling to night
club dancing, from slapstick comedies with Lupino
Lane to revues with Cochrane. The salient point, how-
ever, is this, that she took joy in the battle, for its own
sake. She loved the sense of striking out for herself,
of discovering new fields and the capacity to conquer
them. Obstacles didn't daunt, they stimulated her.
And though the rewards in money and position were
sweet, the sweetest was the feeling that she'd done
it all by herself.
She was dancing in a night club when she met
Samuel Joseph, dealer in rare books, art connoisseur,
owner of a business that was a tradition as well. The
Joseph fathers had handed it on to their sons for
generations, and Samuel Joseph had it in his blood.
Two people could hardly have been more different.
Sam had indeed been born to solidity under his feet,
Binnie with
David Niven
in "Three
Blind Nfice."
If you're senti-
mental don't read
this — for Biniue
Barnes is a realist
CAROLINE S. HOYT
OF TAXES
Binnie to quicksands. Sam was quiet, a student, a
rock of dependability. Binnie bubbled like a geyser and,
less than anything else, did she want a rock to lean on.
She was her own rock, and fiercely jealous of her
independence. Yet they fell in love, they married, they
were happy.
It was after the first delicious embrace that Binnie
looked up at him, half fearful, wholly determined.
"You know, I'll never give up this work of mine."
"Perish the thought," he grinned. "If you did, I
couldn't go around bragging about my wife in the
show business."
Each was enchanted with the other's world and
eager to learn more of it. Night after night Sam
would call for her, watch her final routine and
applaud with the rest, hugging to his heart
the knowledge that he alone had the right
to take her home. Later, when she
was appearing in Cochrane revues
he never missed an opening,
however far out of
town (Continued
By MARY MARSHALL
WHO ARE all these people? Well, they're just girls,
just folks, like you and you and you. The six small pic-
tures show a group of average girls — girls who neglect
their potentialities for beauty, girls who do something
all wrong, or who fail to do something just right. One is
rather lovely, but she has her problem, too. One has that
nice, fresh, wholesome look — but lacks glamor completely.
Two need to be shown a few tricks to conceal their facial
faults. And two have faces that simply cry out, "Make-up,
maestro, please !"
I hope that with the aid of these pictures I may help
you in your search for beauty. And I hope that the five
larger pictures will put over a short, snappy lesson in
acquiring social poise and stuff and things, without which
riot even a beauty can be a belle.
Step up, then, and meet the girl friends. The six small
pictures are conveniently numbered. Even though you
may not resemble in the least any of the girls pictured
here, perhaps a discussion of each general type and her
particular problems may help you. So pay attention, plizz,
while I expound, and refer to the pictures by number when
you want to.
The chief facial fault of girl Number One is a very
common one — a slide-away chin. A weak chin. Further-
more, the chin is long in proportion to the tiny, rather
child-like face, and there is almost no crease in it. The
lower lip is tucked in, too, as if Ickle Dirl were twying
so hard to keep the tears back. And now. Miss Smarty —
I'm talking to myself — suppose you cease picking on the
poor girl and tell other girls with a similar problem what
to do about it.
There are several things you can do. You can use a
one-shade-lighter tint of powder on your chin than you use
on the rest of your face. The lighter powder will make
the chin appear more prominent. Blend the two shades
carefully into each other, so that you won't give your little
secret away to the jeering public. (Conversely, of course,
if your chin is too prominent, powder it a shade darker.)
The powder trick for the weak chin should be supple-
mented by a simple exercise which I will tell you more
about presently.
If your mouth is small and insignificant like this girl's,
experiment with lipstick to make it larger, more dramatic.
Smile when you put on your lipstick. Try, for evening,
the Hollywood trick of blotting out the natural shape of
the mouth with foundation cream and painting a new
mouth. Perhaps this will work and perhaps it won't. If
the natural contours of your mouth are firmly marked, it
won't be so easy.
If you can't improve upon (Continued on page 101)
i
2. Too much forehead. 3. Qlamorless.
4. Deep-set eyes.
5. Make-up, please! 6. Hair is terrible.
45
world is
ey's oyster.
Swing bands,
food, girls and
loud clothes are
his passion.
Above, left, with
Sylvester, his
valet. Right, with
Lana Turner.
VO-DO-DE O-DO
BY IDA ZEITLIN
UNLIKE THE Andy Hardy he plays, Micke>
Rooney got no thrill out of wearing his first tuxedo
He was three years old and its stylishness was
lost on him.
"It's like a baby," Mickey explains. "If he grows
up in France, he speaks French and thinks nothing
of it. I grew up in vaudeville, wore tucks and
thought nothing of it. Vo-do-de-o-do. (The final
snatch has nothing to do with the subject, but
serves Mickey as a musical punctuation mark plus
an outlet for animal spirits.)
Vaudeville alternated with, and then gave way
to, the movies. For several years Mickey enjoyed a
definite vogue as the typical American kid, fresh
but nice. There followed that crucial period when
he was no longer a little boy and not yet^ a big
one — the period when most movie children's con-
tracts are allowed to lapse. Mickey's parts shrank
in importance, but his studio hung on to him. There
was in his acting a sureness, a humor and an hon-
esty that seemed worth investing in for the long pull.
The issue proved his studio wise. A single word-
less scene in "The Devil Is a Sissy," that scene
where he stood under a lamp post while his father
died in the electric chair, might have netted Mickey,
had he fallen within the age limits, an Academy
Award. The success of "Ah, Wilderness" encour-
aged the studio to put into work a little number
called "A Family Affair." To the general astonish-
ment, a long line formed outside the Capitol Theatre
in New York on the day of its first showing. To the
question, "What brought you down here?" the
answer, almost 100%, was "Mickey Rooney."
Thus began the new flowering of Mickey's career.
He's been kept hopping since — from "Hardy" to
"Lord Jeff" to "Hold That Kiss" to "Hardy" to
"Boystown." They can't come too fast for Mickey.
Occasionally it suits him to bemoan his vacationless
lot. Actually, any between- (Continued on page 90)
He's the typical American kid,
fresli but nice — and a born comic
BONITA GRANVILLE sighed, ap-
pearing to have the cares of the world
on her shoulders, and began, "Isn't it
terrible when you're just at that age
when you're neither one thing nor an-
other— sort of just in between. I don't
enjoy playing with dolls, and yet I'm
not old enough to go out with boys
alone. I guess I'm at the awkward age.
Fifteen, y'know, isn't either here nor
there. Gee, I'd give anything if I were
older, or even younger. Then I wotild
at least fit in somewhere. I can't even
drive a car till I'm sixteen and that's
such a long time oflf. Yep, it's seven
whole months and that seems like
just abovit a lifetime now !"
We agreed it did seem unfair that
in the process of maturing one must
just sit and wait for that magic
time when the world unfolds before
your very eyes. However, once
Bonita has arrived, so to speak, it
might prove disillusioning to dis-
cover the moon's made of green
cheese ! That is, the phenomena she
has lived for isn't all it's cracked up
to be ! Many a deb has the dis-
appointment of her young life once
she's launched and has done the
rounds. Far of¥ fields are always
the greenest, you know.
"I did go out once, my first time,
and it was wonderful," Bonita
reminisced. "Of course, it was with
a girl friend, and Mama was at the
next table chaperoning us, but it was
grand ! I was so elegant that you'd
have thought me twenty at least. I
was putting it on and everything
went fine till the waiter came for
the dessert order. I asked for demi
tasse and my friend chimed in,
'What is dema tas-sie?' I could
have died ! I didn't know myself,
but I was going to find out. I never
(Continued on Mae 78)
BY GEORGE
BENJAMIN
"I'd hate to
think I'd end up
as an ingenue,"
sighs Bonita
Granville, who
has too much
on the ball to
ever do that!
47
- iiiff-ii(iMiffiiiiiiigai t -
Monireen O'Sul-
livan's striking
ensemble oi
Mack and white
flannel shows a
definite Cosscuk
influence.
The soft green
of Rosalind Rus-
sell's wool suit
contrasts subtlY
^th her block
and grey
accessories.
BY MARIAN SQUIRE
THE SUIT is definitely leading
lady in this Fall's fashion picture,
according to the head cinema
stitchers, and it may have as
many different guises as fancy
dictates. Blouses take on a more
important role, as the newer num-
bers are designed with interesting
skirts, leaving you with a com-
plete costume if the coat is dis-
carded. Skirts are inclined to
climb up and cling to the dia-
phragm for added slimth and
height. Jackets may end any-
where from just under the arm-
pits, to the hem of the skirt.
This trend is a great help for
the girl who hasn't time to change
after office hours, for her dinner
date. The simplest office frock
becomes a date dress when it dons
a tricky jacket. With various
toppers as a sartorial hypo the
most limited wardrobe assumes
an air of opulence and plenty.
Here are Olivia De Havilland
and Rosalind Russell to illustrate
You'll be in the swing with any one of these
RiliiPNiiliilPiiPi^^
1
THE SEASON
the point. Two entirely different
types, these cinemamisses run the
suit gamut in "Four's A Crowd."
Designer Orry-Kelly whips up short
jackets for the diminutive MiSs De
Havilland, and ranges from brief
boleros to skirt length coats for the
taller Miss Russell.
Nearly all of Miss De Havilland's
gowns are "suited" with various
jackets. One dress, flaring slightly
at the hem, boasts a pert bell hop
jacket with a double row of shiny
buttons and lapels outlined in braid.
A short plaid jacket and crew neck
sweater go with a solid color skirt
fitted to below the hips and then
bursting into released pleats. A
black fox bolero gives umph to a
simple street dress with quilted
trimming. A very flaring skirt
builds up to a white blouse with
enormous sleeves caught at the wrist
with narro\v cufTs.
One of Miss De Havilland's eve-
ning gowns has a black taf¥eta skirt
billowing enormously at the hem,
with an occasional coy peek at an
India print petticoat. The top is the
same print decorated with sparkles
(technically known as dardanelles),
black epaulettes on the tiny cap
sleeves and a contradictory little-boy
collar of crisp white pique.
Miss Russell clings to suits even
for formal wear. Her evening gown
is all white and worn with a long
sleeved peplum jacket. The silhou-
ette of this outfit is somewhat
confused, what with the peplum
dipping in the back, and a roving
waistline. Miss Russell seems hap-
pier in her more orthodox numbers.
A suit with a loose hip length jacket,
has a sweater ( Continued on page 80)
fashion-right ensembles worn by Hollywood's brightest young stars
TEN YEARS ago
Ray Bolger definitely
decided not to take up
with "moom pitchers."
That is, he firmly be-
lieved the stage was
the place for him and
his talents. So, just to
prove he sticks to his
guns (?) ten years to
the day later we found
Ray in the process of
moving into his new
home high on a hilltop
overlooking dear old
Hollywood.
"You know, this
isn't my first experi-
ence in pictures," Ray
began with a twinkle
in his eye. The Bolger
humor is the talk of
the town. "I did them
back in 1926 in the
good old silent days.
They were shorts,
called "comedies" in
the dark past. I was
given to understand
they were so good a
test was made of me
on the strength of
them. However, I
never heard from that
test. I got lost in the
shuffle, so decided then
and there that the
movies were not for
me. I was going to
stick to the legitimate stage and build a name for myself.
For years I played the circuits with Broadway as my
goal. Then came the time I was to debut on the big time !
My pals told me how sophisticated New Yorkers were,
so I was as busy as a bird dog gettin' sophistication. Well,
to make a long story short, I was a complete bust 'til one
day, in disgust, I played myself. They loved it, and from
then on I forgot advice and began to get ahead."
Now, if you've never seen Ray Bolger stop a show,
you've missed a real treat. Undoubtedly one of the most
popular musical comedy stars on the stage, Ray is in a
class of his own when
it comes to dancing.
"After I got into
the legitimate theatre,
things began to hap-
pen," Ray continued.
"Each time I'd do a
show, the movies
would come around
with offers. Finally
they made me such an
attractive proposition I
accepted. I came out
here with a deal to do
two pictures a year
with the rest of the
time off to play on
Broadway. Well, I
sat around all summer
with nothing to do but
draw salary. Finally,
with only a few weeks
;o go on my contract,
I got a call from an
executive's office. I
figured he would tell
me my services were
no longer required. I
was wrong.
"The first thing the
man did was to ask
what I did ! I thought
it was a rib and said
most anything coming
my way. 'Yes, but just
what sort of thing do
you do,' he asked, 'dra-
matic or what ?' I told
him to get a rehearsal
hall and I'd give him an audition. 'How long will you
have to practice?' he wanted to know. I told him to let
me show him. Well, I went through the works, and did
tap stuff and pantomime — well, the works. When I got
through he said, 'Could you do a dance number in "The
Great Ziegfeld?' "
"I worked like mad and did a routine for the picture.
When I was through, I went back to New York, without
a new contract. I figured this picture business was nice
work if you could get it, but, well — I had a date in New
York and was very glad to keep it ! ( Continued on page 74)
He's a star on- Broadwcry,
film player in Hollywood
and a dancing fool in any
language.
HES NOT
i^e-MINDED
Ray Bolger, scene stealer, is looking for a four star picture to swipe
The bride and groom leov- Jackie Cooper was right
in? the church after the cere- there to get Uie bride's first
mony. A handsome couple, Idss* Anid we can't blame
dcm't you think? him. Guess he rotes!
Edward G. Robinson, who
has worked with Claire in
radio and pictures, toasts
the bridal pair.
COMEDIANS VS.
%-,\
When the Ccmi-
edions played
against the
Leading Men,
Mary Pickford
tossed out the
first ball as
Buster Eeaton
looked on.
Maybe one rea-
son why Mary's
was the only
good pitch of the
day was that
Umpire Joe E.
Brown ruled the
Mauch Twins in-
eligible because
the game wasn't
a double-header.
With the score 72-
28 against his
team, Hugh Her-
bert gets renewed
hope from Gloria
Blondell. Inciden-
tally, the game
ended with
score of 84-76 —
the winner,
sweet Charity.
Leading
Men's cap-
tain, Dick
Powell, goes
through a batty
formality with
Comedian's cap-
tain, Joe E. Brown.
Joe was also um-
pire and official
announcer.
LEADINCIWENj
John Bdles droy e
a terrific hvaoA
Into the infield,
then quicklY
packed, said
goodbye to
friends, and set
off f <Mr first base.
The Ritz Brothers,
in the latest in
basebcdl uniforms
straight from Sing
Sing, played on
both sides, um-
pired, took tickets
and shot Dick
Powell for steal-
ing second base.
That's all.
1
There's mischief
abrewin' when
the "Dead End"
Kids get together
in a huddle. They
think that base-
ball is for sissies,
so they're waiting
for a nice, inter-
esting game of
"seven-c o m e-
eleven."
In a studio romance, you must al-
low the young lady to take your
arm — while the cameras are
around anyway!
And pay attention while she
makes the momentous deci-
sion between lamb chops and
the regular blue plate.
62
You don't have to be quite so at-
tentive to your real girl. She
knows how you feel. At least,
that's what men think.
Food plays a minor role at the
luncheon table with Richard
and Arleen, when there's
much to talk about.
inseparable
George
ccnd
Our favorite story this month concerns the heat, Tyrone Power
and New York, in the order named. It was during Tyrone's week
in Manhattan, when the young man spent almost every waking
moment with a crowd at his heels. Wherever he went, the crowd
went, all of which is nice and pleasant in the winter but a bit
sticky in New York's sulphuric summer. So one night Mr. P.
decided on a quiet evening in his hotel room. He armed himself
with a cool drink and sat back in an easy chair, but it was still
hot. Thinking a little circulation would help matters he phoned
the desk and said, "Send up a couple of fans." A moment later
he answered a knock on the door and in walked two urchins with
autograph books.
Since Shirley Temple's "firsts"— from first teeth to first bright say-
ing— have been carefully recorded by the nation's press, we are
bound by tradition to report another "first." First thing Shirley said
when she arrived in Hollywood from her across-the-continent jaunt
was "How's Ching-Ching?" Ching-Ching is a baby Chow, and the
first thing he ever did had better be left unrecorded.
If our guess is right, a young lady about town named Ellen
Powell is in for some pretty strained moments fifteen or twenty
years from now. For Papa and Mamma (Dick Powell and Joan
Blondell) have made a recording of Ellen's first audible sounds —
all her howls and yowls — for posterity. We can see the picture
twfenty years from now : a group of friends gathered at the Powell
home, listening to music, when suddenly Old Man Powell (that's
Dick) will say, "Here's an interesting record." And Ellen, full of
the dignity of her twenty years, will have to listen to the shrieking
of a little girl she doesn't even remember.
64
Most fun of the month, and probably of the whole year, was the
party sponsored by Bette Davis for The Tailwaggers. of which she's
national president. The Tailwaggers is a charitable organization
similar to the Himiane Society for the protection and care of dogs.
(We explain this only because someone asked us if the Tailwaggers
was a rhumba club.) The whole town turned out for Bette's party
at the Beverly Hills Hotel, everyone had a swell time and the entire
proceeds will go to make this a happier nation for canines.
Any of you gals who saw the gorgeous Hedy Lamarr in
"Algiers" will thank us for this bit of information. It's Hedy's
street make-up secret, and anyone who has seen her breath-taking
beauty in person will vouch for its effectiveness. Hedy wears
a cream powder base — and no powder, and a bright lipstick which
she applies with a pencil. All right, girls, let's all be gorgeous.
One of the strangest cases in Hollywood, is Ann Sothern's. Wit!
a beautiful face and figure and plenty of acting talent, she hasn't
had a picture job since her contract terminated six months ago. But
she's contracted to do a Broadway show for Jed Harris this fall, and
our guess is that she'll be back in Hollywood before the end of the
year, and the studios will be fighting to pay her twice what she got
before they let her go.
Bill Powell definitely will not be seen on the screen before the
early part of 1939, due to the fact that he is in delicate physical
condition and has been ordered by his doctor to refrain from
strenuous work for at least six months. And that is the principal
reason why Bill will appear regularly on the Hollywood Hotel
radio show. The work is comparatively easy, he has an audience
to work to, he likes radio, and, most important of all, it keeps
him before his public.
separation Franchot was seen at practically all the town s night
spots, usually by himself. But Joan remained in hiding, and up to
press time she hasn't emerged for a single social event. Is she
going into another Phase, we wonder? Will Joan emerge as the
new Garbo. or will she decide to be the Gay Divorcee? No one
knows and very few care.
Although it hasn't yet been published, Deanna Durbin is now free
of all the agent trouble which has been dragging her into the courts
these recent months. Her studio and her family have bought her
agent's contract, and from now on all her business deals will be
handled by her father. Deanna, incidentally, is in a class with
Shirley Temple and Jane Withers in that she makes as much money
from sidelines as she does from her pictures. Last year, for instance,
Deanna made $100,000 on royalties from the sale of dresses bearing
her name.
Hey, what's this? Hollywood has just made a college picture and
— believe it or not — there's a college girl in it. Check the records
back to the golden days of college pictures, when one of the studios
put Jack Oakie through college at least twice a year, and you'll
find this is tradition-shattering news. As long as the news will
leak out anyway, we may as well tell you that the picture is "Hold
That Co-Ed" and the bona fide college girl is Marjorie (Indiana
University) Weaver.
Although Luise Rainer has already filed suit for divorce against
Clifford Odets, there will undoubtedly be no action taken on it
before the first of next year. Reason : Luise is not yet an American
citizen. She is in the process of obtaining her citizenship papers,
and having a husband helps considerably in such matters. How-
ever, no one can blame her for not wanting to return to Austria.
Now that the Joan Crawford-Franchot Tone split is definite, one
wonders what will be Miss Crawford's next move. Following the
Gary Cooper has come out with the statement, according to his
studio's press department, that men who smoke "tailor-made" ciga-
rettes are sissies. Mr. Cooper, according to the busy Boswells, has
been rolling his own ever since he was old enough to shave, and
figures it isn't manly to go up to an effeminate cigar counter and
order a pack of "ready-mades." When pinned down, the publicity
boys will admit that Mr. Cooper has just completed a picture called
"The Lady and the Cowboy," but they indignantly deny any con-
nection between the two items. They also forget that a few months
back Gary received a sum supposed to be $5,000 for endorsing a
well-known brand of sissy cigarettes. $5,000 buys a powerful lot of
makin's, eh, Gary?
65
pended by her studio for refusing to play the .feminine lead in 'A Very
Practical Joke.' This is the picture with which Ricardo Cortez will make
his bow as a director. According to studio sources, the primary reason
given by the actress for declining the femme lead, which is reputed to
be a fat part, is the fact that it is the director's first megaphone job. As
an additional reason, she is reported to object to Michael Whalen as the
leading man, claiming the last time she appeared before the camera with
him, he 'gave her nothing' to help 'lift' her work."
"Smile when 70U call me thai, stranger!" All of which is a lead-up to
the fact that Jesse James was a bold bad bandit, a rough-and-tough he-
man who took his fighting where he found it. Ereryone knows he was
a straight shot and a desperate character. So now, the studio filming
his life has the nerve, in several trade paper ads, to spell his name
"Jessie." It's like calling that one-time hero of the West Buffalo Willie.
Questions without Answers : What recently filed divorce action
Miriam Hopkins chats with Enrol Flynn at the
West Side Tennis Club's party.
Nancy Kelly makes her screen debut in the lead opposite
Tyrone Power in "Jesse James." Since Miss Kelly is a new-
comer, items on her are scarce. All we found out is that she's
seventeen, she scored a hit last season on Broadway, and she's
seen about with a distinguished looking man, but he's her
father. She also likes to jump into a swimming pool of a
moonlit evening and, unlike most girls who feel that way
about pools and evenings, she has one handy.
The power of the screen in "building up" a name has never
been so definitely proven as in the case of Tony Martin. Six
years ago Tony was a saxophone player in San Francisco. He
had his , own band at a small night club, but no one paid much
attention to it Two months ago, after a couple of years of mod-
erate success in pictures, Tony took a dance band out on the road,
and he did sensational business everywhere, topping even such
established band leaders as Benny Goodman and Guy Lombardo.
Everyone came to spend an evening with the guy who spends his
evenings with Alice Faye.
Strange Parallel Dept. From a publicity release : "On her
studio lot, Phyllis Brooks is known as 'the darling of the
directors.' She never blows up in her lines and she always
knows them perfectly. She never grows temperamental. She is
never late for work. Consequently, the directors on the lot are
among her strongest admirers and are eternally begging for her
services in their pictures."
From the Hollywood Reporter : "Phyllis Brooks has been sus-
HoUywood's most romantic couple, Gary Grant
and Phyllis Brooks, dine at the Brown Derby.
Ann Sothern and Madge Evans rem-
inisce as they lunch tete-a-tete.
had been planned by the wife even before she married
the guy? Before holy wedlock occurred she signed
an agreement with the groom's agent which stated
$100,000 would be the limit of the settlement when the
divorce came. In the meantime, of course, she has
accumulated enough furs and jewelry to attract many
Hollywood wolves to her door.
•
This is an era of strange nicknames, but the strangest
we've run into are a couple on the set of "That Certain
Age." You knock at a dressing-room door marked
"Butch" and little Juanita Quigley pokes her head out.
The owner of the one next to it marked "Charlie," is
— guess who — Deanna DurbinI (Continued on page 116)
They prefer different sports,
but the same cigarette
""CAMELS ARE MY FAVORITE!"
SAYS EACH OF THESE DISTINGUISHED
WOMEN OF SOCIETY
(left) Mijs Peggy Stevenson
of New York . . .Watch Peggy
Stevenson tee off and you
can well believe that her
game is never upset by
jangled nerves. "It takes
healthy nerves to play a
good game of golf," she
says, "so my smoking is
confined to Camels. Cam-
els are mild. They never
get on my nerves at all!"
(right, standing) Miss
Jane Alva Johnson of St. Louis
. . . Riding, hunting, and
horse shows are "an old
story" to Jane. Her horses
have won trophies and rib-
bons. "That delicate Camel
flavor tastes just right to
me," she says. "Though I
smoke quite steadily, I'm
always ready for another
Camel ! "
(right) Miss Le Brun
Rhinelander of New York . . .
In her own words, "Skiing
is great sport!" Lake Placid
is her favorite winter re-
sort . . . Camels her favorite
cigarette. ""I need healthy
nerves," she says, "to make
speedy descents . . . without
a spill. So I do my nerves
a favor by smoking nothing
but Camels."
(left) Miss "Milo" Gray
of New York . . . Devoted to
figure-skating, Miss Gray
has visited winter sports
centers — Innsbruck,Gstaad,
Ktynica — and is an enthu-
siastic participant in Long
Island skating parties. She
stops frequently to refresh
herself with a Camel.
"Camels taste grand all the
time!" she says.
(left) Mrs. S. Kip Farring-
ton, Jr. of New York . . . Her
favorite sport is big-game
fishing. She has caught a
giant tuna weighing 720
pounds! Here she is pic-
tured with a friend, chat-
ting about Camels. "I'm
glad that I smoke Camels,"
she says. "When I'm tired,
smoking Camels gives
my energy such a lift.'"
(right) Mrs. John W. Rocke-
feller, Jr. of New York . . .
Mrs. Rockefeller has had
thrilling experiences in the
air. "My first thought,
when I put my feet on firm
ground," she says, "is to
smoke a Camel. Smoking
Camels eases up my ner-
vous tension. Yes, 'I'dwalk
a mile for a Camel'— and
fly a thousand!"
(left) Mrs. Rufus Paine
Spalding III of Pasadena . . .
Mrs. Spalding is a skilled
yachtswoman. She travels
a great deal, entertains fre-
quently, and smokes Cam-
els— as many as she pleases.
"Smoking Camels gives
me a delightful lift," she
says. "And Camels are so
mild . . . really gentle to my
throat! "
COSTLIER TOBACCOS:
Camels are a matchless blend of finer, MORE
EXPENSIVE TOBACCOS— Turkish and Domestic
GET A LIFT WITH A CAMEL !
ICopyright, 1938, R. J. Reynolds Tob;>cco Company. Winaton-Sale
, North Carolina
A ROYAL ROMANCE
Frances Dee and Ronald Colman in a
tender scene from "If I Were King."
MODERN SCREEN
Cream EXTRA 'SKIN -VITAMIN" info your skin
— Get Wise to TODAY'S EXTRA BEAUTY CARE*
Every Girl Strives to Keep skin soft— thrill-
ing. Today's smart women give their skin
extra beauty care. They cream in extra "skin-
vitamin"— with Pond's Cold Cream, {above)
Miss Camilla Morgan, active member of
the younger set, snapped at Newark Airport.
Glamorous Whitney Bourne, Society Beauty
who has chosen the movies for her career,
snapped with friends at Hollywood's Brown
Derby ... "I believe in Pond's extra 'skin-
vitamin' beauty care," she says. "I use Pond's
every day."
All Normal Skin contains
Vitamin A— the "skin-vita-
min." Without this vitamin,
skin becomes rough and dry.
When "skin-vitamin" is re-
stored to the skin, it becomes
smooth and healthy again.
• In hospitals, doctors found
this vitamin, applied to wounds
and burns, healed skin quicker.
• Use Pond's as always, night
and morning and before make-
up. If skin has enough "skin-
vitamin," Pond's brings an
extra supply against possible
future need. Same jars, same
labels, same prices.
It's so easy now to get extra 'skin-vitamin'
for my skin by using Pond's Cold Cream.
I've always loved Pond's. Its use helps give
skin a soft glow, makes make-up thrilling."
Charming MRS. THOMAS M. CARNEGIE, JR.
popular in New York, Southampton and Florida
* Statements concerning the effects of the "skin-vitamin" applied to the skin arc based upon
medical literature and tests on the skin of animals following an accepted laboratory method.
Tune in on "THOSE WE LOVE," Pond's Program,
Mondays, 8:30 P. M., N. Y. Time, N. B. C.
CopytiKht. 1938. i'oml'n Extrncl Company
69
MODERN SCREEN
THE LURE THAT'S LAMARR
(Continued from page 29)
BUT BETTER MEAIS
THAN EVER
— thanks to this delicious
ready-cooked spaghetti
TRY THIS TEMPTING SAUSAGE
AND SPAGHETTI PLATE
4 spiced apples 2 cans Franco-American
12 sausages Spaghetti
Cook apples in sirup made of Vz cup sugar,
1 Vi cups water, 3 teaspoons red cinnamon can-
dies, 2 tablespoons lemon juice. Parboil and
panfry sausages. Meanwhile heat Franco-Ameri-
can Spaghetti. Divide each into 4 servings.
FRANCO-AMERICAN supplies an abundance
of the quick energy growing children need.
It's easy to prepare; just heat and serve.
Its rich, savory cheese-and-tomato sauce
(made with eleven different ingredients) adds
zestful flavor to left-overs, new relish to
cheaper meat cuts. Serve Franco-American
often as main dish or side dish. See how it
peps up meals and s-t-r-e-t-c-h-e-s food dollars!
Franco-^mertcan
SPAGHETTI
Made by the Makers of Campbell's Soups
FREE '^ec0& ^aoA
Campbell Soup Company, Dept. 611,
Camden, New Jersey. Please send me your free recipe
book: "30 Tempting Spaghetti Meals."
Name (print)
Address
City State
Or again, she had a true sophisticate's
appreciation of the texture and color of
the skins of the rare Httle animals that made
up her chinchilla cape. She frankly con-
fessed pleasure in owning it because it is
of the most expensive fur in the world.
She was in London before her present
contract was signed. She was approached
by a top executive who offered certain
terms. She refused them and the discus-
sion was closed. Then she noted the execu-
tive was returning to America on a cer-
tain boat.
"I think it is a good time for Hedy to
visit her relatives in New York," she told
herself. (There were no relatives, needless
to say.) "I think, too, that it would be
nice to take that same boat. Who knows ?
Something may happen. Boats are nice
places and people feel pleasantly disposed to
one another on them."
Che caught the same ocean liner. She
wore her most striking clothes. She was
charming to the executive and his party.
She was distant, but not too distant. Men
passengers flocked around her by the score,
and she took care that the fact was seen
and noted.
"When I want something very much, I go
after it," she explained to me. "I don't let
people tell me no."
The contract, on her terms, was signed
in mid-ocean. And it was there, inci-
dentally, that she was christened Lamarr.
It was easier to pronounce than her real
name of Kiesler, to which some unpleas-
ant publicity had been attached. Perhaps it
was hopeful prophecy of success to match
that other great beauty's, Barbara LaMarr.
TO better appreciate the simplicity of
her present surroundings one has to
know something of Hedy's past. She was
born in Vienna of well-to-do parents. As
the only child she was spoiled in some
respects, yet she remembers feeling the
curb of sharp discipline at unexpected times.
At fourteen she was sent to a private pen-
sion in Switzerland. She ran away from
there because of rhubarb.
"The head mistress had a sour face and
pulled her hair up, so," Hedy said, illus-
trating a severe coiffure with her own
luxuriant mop of wavy, brown hair. "She
liked rhubarb and so we had it every night
for supper. I didn't like the stuff and re-
fused it. They told me I would get nothing
else to eat unless I did. So I ran away."
Hedy's philosophy is if you don't like a
thing, run away from it. It's so much
simpler than staying to argue, and a much
faster way of getting your own way about
things. She's just now learning, poor child,
that there are some things you cannot run
away from but must^ face and fight down.
Like the way the world will not forget her
first picture, "Ecstasy." It is taking cour-
age on her part to learn that lesson.
She went back to Vienna third class be-
cause the head mistress had the guard-
ianship of her pupils' money. En route her
fellow passenger got both legs broken, the
train caught on fire and she had no money
for food. "Oooh, such a mess !" Hedy de-
scribed it.
Her indulgent parents permitted her to
remain. And then rued the decision, for
Hedy got stage-struck. Such a thing had
never happened in the family before. She
finally landed a tiny part in a Max Rein-
hardt production called "The Weaker Sex."
When that play closed and no more en-
gagements were forthcoming, she ran away
to Berlin to get in the movies. She made
one or two pictures which she said were
terrible. Finally after a year a family friend
coaxed her back to Vienna on the pre-
tense of a "wonderful surprise." There was
no surprise, but Hedy was glad of an ex-
cuse to be home again without losing face.
DEFORE going to Berlin, however, she
secretly had appeared in the picture
"Ecstasy" which was to raise such a con-
troversy and to dog her life for the next
eight years and still is hounding her. In
that regard, she was more sinned against
than sinning. Advantage was taken of her
youth in the first place, and in recutting the
picture for foreign distribution, an entirely
different and sensational interpretation was
placed upon it, for the sake of the dollars
it could rake in on the American market.
Returning to Vienna she appeared in a
number of stage plays and was building a
creditable reputation for herself as an
actress when she married Fritz Mandl. Like
herself, he was a man of strong determina-
tion. He wanted to marry Hedy and did.
For the next four years her life was lived
the way Hollywood society stories are pic-
tured. She had exquisite jewels and mag-
nificent furs and gowns. Formal dinners
over which she presided were served from
plates of gold, which recently were stolen
in the Vienna rioting. Seven servants
waited upon her in her ten room apartment
in Vienna. Others served her in the Mandl
hunting lodge some miles away. She had
a place in the Austrian Alps, and another
on the Riviera.
It should have been a thrill for such a
young girl to hold so much power in her
slim hands. It wasn't ; it was a bore. She
wanted to be an actress. She wanted to do
something herself, not be done for.
Just before going to England she divorced
Mandl in the courts of Vienna on the
grounds of desertion. An annulment of the
marriage is now being sought in Rome.
And so to Hollywood, where she is
living with one servant in a simply
furnished six room bungalow, where she
drives her own modest car, and does her
own marketing.
"It is all I can afford right now," she
said. She must have caught my incredulous
smile because she said quickly, "You think
I must have a lot of money because I have
a big diamond ring and a chinchilla coat,
eh? Because I was married to a very rich
man? That is not so. I took nothing from
him."
"And are you happy living this way?"
"No," she said honestly. "I like having
nice things. But I'll have them again. You
wait and see. This time I'll make them for
myself."
Hedy speaks English with only a trace
of an accent, and she has an amazing
command of vocabulary for one who has
been speaking the language only seven
months. In fact, she has perfected her
speech more in those seven months, Holly-
wood claims, than Marlene Dietrich has in
seven years.
Gallantly she denied loneliness during
those long months that preceded her present
triumph. She was busy, she said, and she
went to lots of "private parties." It must
have been galling to her pride, however, to
possess a beauty which Reinhardt called
the greatest in the world and be forced to
keep it hidden from all but a few friends.
For she was kept hidden. That was part
of her studio's carefully prepared plan. Or
so they say. They wanted certain publicity
to die down that she might break upon the
(Confinned on page 79)
70
MODERN SCREEN
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71
MODERN SCREEN
■
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Say, who said the boss
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149 Madison Avenue. New York, N. Y.
Kindly send, at no cost to me:
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Knitting directions for BM 3853
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MODERN SCREEN
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73
MODERN SCREEN
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74
HE'S NOT MOVIE MINDED
(Continued from page 50)
"Anyway," Ray continued, "that Fall I
opened in 'On Your Toes'. We had worked
for nearly two years on the play and I
was pretty excited about it. You see, in
the theatre we work with the creators,
putting part of ourselves into the roles. In
pictures, they do things differently. You
do what the writers say in the script and
that's that.
"However, to get on, we rehearsed for
weeks and then pushed off for Boston to
open. I was running around in circles. We
were all nervous about the show, not
knowing whether it would be a hit. The
opening night came round and next morn-
ing the papers announced we had a sure
fire smash that would run for months. Then
the fun began. Phones rang like mad and,
believe it or not, movie companies were on
the wire for me ! I wouldn't talk to 'em.
My place was the theatre, and there I
should remain.
T^INALLY I got together with one studio
and signed before the show even got to
New York. I didn't know what I was
doing, I was so excited. Starred in a
show that was a huge success, I was the
happiest man in town. We came to New
York and things went better than I'd even
dreamed until 'The Great Ziegfeld' opened
around the corner. Here I was, a bit play-
er in the picture, and not a stone's throw
away my name vi'as up in lights ! I got
the ribbing of my life from my friends, so
I kept my trap shut about this new deal
with the cinema. After the show closed,
I quietly came out here with hopes high
and a determination to make good in the
greatest medium of all, the talkies."
Yes, Ray Bolger's a guy that can take
it ! Not merely once has he been to the
camera coast only to return disheartened,
but each time he comes back for more.
However, from reports, he's made his last
trip back east, for since his excellent job
in "Rosalie," his studio has really im-
portant plans for him.
"I've just finished working in 'Sweet-
hearts,' but you won't be able to find me
in it. It really takes time to get started
in pictures. It's like beginning all over
again. They haven't found just the right
thing for me yet, but I'm not discouraged.
Look at Fred Astaire. He did nothing
for quite a time until some producer took
a long chance and said, 'Well, he was a
success when he played himself, so we'll
let him do that on the screen.' Then over
night Fred was famous as a movie star.
The whole country clamored for his pic-
tures. I don't expect to emulate his good
fortune, but I do think we're on the right
track. You see, with me, it's quite a dif-
ficult think. I get a star's salary, but I'm
no star. So it's pretty hard to figure just
what to do with me.
"However, I've heard tales at the studio
that Eleanor Powell and I are to do a
picture about Honolulu. Of course I won't
play the love interest, merely her brother,
l3ut I think it would be good for me to
work with Eleanor. She's a grand person
and there's no one could stop her if she's
cast properly. She's a sensible, sweet girl,
not the dizzy society type damsel and,
when she starts playing her type, watch
her go to the top."
Also watch Mr. B. if those studio heads
ever cast him as himself. How they have
overlooked the great possibilities in his
"On Your Toes" is a mystery. Of course,
far be it from me, to take the casting
problems from their shoulders, but were
I in the purchasing department, Ray's first
assignment would be to film his stage suc-
cess. And, in so doing, fill the company's
coffers with that always welcome cash.
"This much I do know," Ray continued
with enthusiasm. "I'm to do 'The Wizard
of Oz.' I'm looking forward to this be-
cause I feel it can be a highly amusing
and successful picture. I'm not sure whether
I will play the Scarecrow, or the Tin
Woodman. Both are swell parts and if
they keep it in a light vein, sticking to
fantasy, I think it will be a big hit. Judy
Garland is to play Dorothy, the little girl
blown from Kansas to the Land of Oz.
There are some marvelous songs in it,
so she should be perfect."
There will be a rooting section for Ray
here, because there's no one who deserves
a break more than said gent. Chockful
of talent, charm and personality, he is just
what the fans have ordered for good fun.
Speaking of fun, the Bolgers are having
the time of their lives getting ready to
move into their first home. Seems that,
due to traveling here and there, they never
had the opportunity to settle in anything
more than a hotel suite or an apartment.
Well, all is changed, and you can take a tip
that Mr. and Mrs. B. will be in for many
an envious glance once a house warming
is in order.
"We're having a marvelous time with
this house," Ray confided as he proudly
showed one around the grounds. "We cer-
tainly were lucky to find a place with
shrubbery and trees. Why, it would have
taken us a lifetime to get all this set. I
can't understand how it remained vacant
so long, unless no one could find it. The
thing that sold us immediately was its
eastern appearance. It's more like an Eng-
lish farm house architecturally, but all this
gardening is typically Connecticut or New
England. We've done the whole thing
over, even to the conservatory, which is
now a card room. Everything is new.
We've started from scratch, even to the
linens and pots and pans. It's been quite
a job for Gwen, but she loves it and she's
good at it, too."
With things looking up for the Boigers,
there seems to be only one small fly in
the ointment. When they go out socially,
Ray wants to dapce with his wife, there's
always some producer's wife who wants
to dance with Ray. Well — Ray wants to
stay in pictures !
Roy Bolger and Jeanette Mac-
Donald in an amusing scene
from "Sweethearts."
MODERN SCREEN
'^9 wtaA moA SMXnxo^^
-to
Gee— was I sorry for myself! And mad, too!
Five precious days of the cruise I'd planned
and saved for — to be spoiled by chafing dis-
comfort and annoyance! I thought of the
dancing and gay deck games, and inwardly
wailed . . . Oh, why was I born a woman?
^ . mJllkL'zJIIIkWK^
Well— at least IVe drawn a nice cabin com-
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girl who was sharing my stateroom. And ap-
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unpacked we were friends . . . and I was tell-
ing her my troubles.
"Me, too"— she grinned. "But it doesn't get
me down. Though I used to feel just as you
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now — with Modess — I'm so completely com-
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"Here"— she continued, offering me a box of
Modess. "Help yourself. Fortunately, I
brought an ample supply." And while I fin-
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is made and why it's so wonderfully com-
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"It's made differently," she toid
me. And she actually cut a Modess
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layers. "Now," she added, "I'll
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75
MODERN SCREEN
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OUR PUZZLE
ACROSS
Answer to Puzzle on Page 115
1
and 4. First and last names of our
61.
Level
star
62.
Our star is this about his work
10.
Wife of Charles Laughton
64.
Ginger's dancing co-star
14.
Actor in horror films
66.
Compass point
15.
Exotic star of "Her Jungle Love"
67.
Heroine in "Wells Fargo"
16.
Contests
68.
College yell
18
Singer in "Romance In the Dark"
69.
Pheasant's brood
20.
Egyptian river
70.
Some
21.
Declares
71.
Male lead in "Sinners In Para-
23.
Hastened
dise"
24
ly Filers
76.
Nevertheless
26.
The boss in "Test Pilot" : imt.
78.
Shelton
27.
Aid
81.
Birthplace of 1 across
28
Brother of George Gershwin
83.
Star of "Marie Antoinette"
29
Sea eagle
87.
Drug plant
31.
Birthmonth of our star
88.
More intelligent
33.
Infant daughter of Dick Powell
89.
Conclusion
35.
Wreck
91.
"Kentucky shine"
36.
Crave
92.
Tin Tin, famous dog
38.
Beautiful spy in "Blockade"
93.
Rave
40.
"Oil for the of China"
94.
Star of "Ali Baba Goes to Town":
41.
Stitch
in it.
43.
Trifling
96.
Conjunction
44.
Place
98.
Genevieve To
45.
el Norman, silent star
99.
Climbing up
48.
Sorrow
101.
Loretta Young's birthplace
50
Spanish hero
103.
Photographing apparatus
51.
Judy land
105.
Choicest part
54.
Actor in "Vivacious Lady"
106.
Miss Allwyn's first name
56.
Enthrall
108.
Peel
58.
M-G-M's trade-mark
109.
" End"
59.
"- - Cucuracha"'
110.
Landed property
60.
Mid-western state : abbr.
111.
Motion picture stage
76
■
MODERN SCREEN
DOWN
10.
11.
12.
13.
14.
17.
18.
19.
21.
22.
25.
27.
30.
32.
34.
35.
37.
39.
40.
42.
44.
45.
46.
47.
49.
50.
51.
52.
53.
55.
57.
63.
65.
70.
71.
72.
73.
74.
75,
77.
78.
79.
80.
81.
82.
84.
85.
86.
88.
90.
93.
95.
97.
100.
101
102.
104.
106,
107.
Lovely singer at "That Certain
Age"
Our star was great in "In
Chicago"
Negative votes
Cameraman for news : - - Minga-
lone
Our star's first film, "Sins of "
Great silent era actor
"Bluebeard's Eighth Wife"
Color
Norse deity
'Jellybeans' in "Yellow Jack"
" Horizon"
Cora Collins' middle name
Hall of an old Roman house
Sound loudly
Long, narrow piece of cloth
Girl in "Danger on the Air"
"Penrod and "
Drunkard in "Wise Girl"
Without
Varnish ingredient
Associate
Bitter vetch
Yelp
A studio's grounds
Male lead in "Tropic Holiday"
1 across was in "Love Is "
Musical note
Our star has two
"High Flyers" was his last film
She was in "When Were You
Born ?"
Scrimmage
Asssumed name
Featured comic in "Swiss Miss"
Growing out
Our star managed him in "Happy
Landing"
Mr. Gordon's first name
Man's name
French girl in "The Big Parade"
Hotel
Meadow
Queen in "Rosalie"
In that case
Beverage
School teacher in "South Riding"
1 across co-starred in " in a
Million"
With our star in "Ramona"
Plural ending
Film Helen Gahagan played in
Juvenile in "Goodbye Broadway"
Disfigures
She married our star in "Alexan-
der's Ragtime Band"
Male lead in "Girls On Probation"
Principal in "State Police"
Eleanor Powell's dancing rival
Our star's brother in "Josette"
Watered silk fabric
Noted Chinese actress
Diminished
One of the fame ! Seven Dwarfs
Her last name is Hayworth
Alfalfa of "Our Gang"
Knocks
Carole does this in "True Con-
fessions"
Employ
"The Parade"
Star of "Every Day's a Holiday"
Cinderella girl ; - - leen Whelan
Delivery : abbr.
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77
MODERN SCREEN
would have asked. I was so mad I told
her I bet she thought that butterflies made
butter ! This was at the Cocoanut Grove,
you know, so you can imagine what I
went through. But, we did have a mar-
velous time."
Seeing Bonita's eyes sparkle and her
head toss as she recounted her experiences,
reminded us somehow of the brat in "These
Three." It needed only half a question
from me to get her started on her favorite
characterization.
"I had so much fun doing 'These Three.'
It was work, too, but when you got through
there was something to show for the time
you spent on it. Then too, in a part like
that there's lots of meat — something to
get hold of. It really wasn't hard get-
ting the character in hand. You see, the
first thing I do is to read the script, then
the director gives me his idea of what the
part should be and I sort of rnix it with
my interpretation and, there it is.
"I always treat my characters as though
they were real. Then I can get to know
them better. But with the sort of person
I played in 'These Three,' it wasn't so
easy. She wasn't just a mean brat on the
surface. It went deeper than that. She
was vindictive and a liar through and
through. She loved hurting people and
causing trouble in the worst possible way.
"Now in 'White Banners,' I played a
girl who could have been quite a meanie.
But, the director said she shouldn't be nasty
- — just a little fresh and completely sincere.
She said some pretty awful things for a
IN BETWEEN
{Continued from page 47)
girl of her age, but the way she said them
and felt about them made things all right.
"I liked that part. It was the nearest
to a grown-up I've played yet. And it was
swell working with Jackie Cooper. He's
the nicest boy and has so much respect for
his mother. Girls are supposed to be re-
spectful, but with boys, it's sort of dif-
ferent. If you could see him on the set
with his mother, you couldn't help admire
him. . And it isn't that he's dull either.
He kids around and has lots of fun, but
in a quiet way. He's a good actor, too.
The real test is when you play with some-
one and he sure enough comes through."
Our young Miss G., who ordered lemon-
ade and confided the reason was she was
on a diet, reached for her third piece of
cinnamon toast. She got it and also a look
from Mama Granville, who took her seri-
ously about the diet business. So, we quick-
ly asked what sort of roles she liked best.
"Oh, I like to do a variety of parts,"
Bonita began. "I'd hate to think that I
would end up as an ingenue. When I grow
up I want to play the sort of women Bette
Davis does now. But, I don't want to go
through the bad period she went through to
get to doing the things she now does. She's
my favorite actress. I hope I'll be as good
as she is some day. Then I'll feel I've
really accomplished something. I kind of
like doing mean roles, because when you
get through you've really done a job. Fans
remember you if you're mean enough, or
good enough, but when you're just a sticky
ingenue, you haven't anything 1
"I've been awfully worried about how
I'd accomplish the transition from kid parts
to grown-ups, but now I hope it's set-
tled. You see, the studio has just bought
the Nancy Drew series for me. It's the
story of a girl detective, sixteen years old,
and her adventures. She has a car of her
own and drives everywhere, but I don't
think they'll let me do quite that much.
There are about twelve books in the series
and I've read all but one. They'll be some-
thing on the order of the Judge Hardy and
Jones Family series, each one a separate
adventure. I hope this will bridge the gap
and graduate me to adult roles. At least
it will help."
Hearing Bonita discuss the problems con-
fronting her now reminded us of the story
of her first venture into the theatre. But
then it's her story and she loves to
reminisce — at her age !
"You see. Daddy was an actor and so
was Mummy till she married. I was
practically born in the theatre, so to speak,
but didn't live in a trunk backstage. No-
thing so romantic ! I lived a normal life
out on Long Island. But, when I was old
enough to walk, Daddy would lead me onto
the stage to take a bow. Then once in a
while he would let me go on and ad lib
with him. I loved it and from then on it
was sort of understood I would act when
I grew up.
"When Daddy came to California to
make pictures. Mummy and I came along,
too. When he was finished and went back
(Continued on page 100)
DON'T LET IT HAPPEN
TO YOU ! GUARD AGAINST
"middle-age" skin !
MY SKIN WAS REALLY LOVELY, UNTIL I
WAS 20... FOR MOTHER KEPT HER EYE
ON ME. AND MADE ME USE THE SAME
&ENTLE SOAP SHE'S ALWAYS USED!
THEN, STUPIDLY, I BE&AN SWITCHING...
TRIED ONE SOAP AFTER ANOTHER, UNTIL..
MY LOVELY COMPLEXION WAS CONE!
'^OW CAN YOU EXPECT ANY HAT TO LOOlT^
WELL, THE WAY YOUR COMPLEXION IS
LATELY? SO DRY, LIFELESS, COARSE-
LOOKING. REGULAR "miDOLE-AGE"SKIN!
IF YOU HAD ONLY
STUCKTO PALMOLIVE
BECAUSE PALMOLIVE IS MADE WITH OUVE
AND PALM OILS, NATURE'S FINEST BEAUTY
AIDS! that's WHY IT'S SO GOOD FOR DRY,
LIFELESS SKIN. ITS GENTLE, DIFFERENT
LATHER CLEANSES SO THOROUGHLY,
SOFTENS AND REFINES
SKIN TEXTURE. . . LEAVES
COMPLEXIONS RADIANT!
MODERN SCREEN
(Continued from page 70)
world as a new personality. (And hozv she
has broken!) They wanted her to learn
the language. And so she was forbidden to
appear in public places, and was permitted
no interviews. Even photographers were
barred from snapping her, either in posed
or candid shots.
If that's true, the plan worked well in-
deed. From a nonentity she has become
the sensation of Hollywood. If it is not
true, if she was neither interviewed nor
photographed because no one knew any-
thing about her and therefore cared noth-
ing, Hedy certainly has the last laugh.
And I have a hunch she's laughing quietly
to herself these days.
WHAT is this extraordinary beauty
and appeal of hers ? Well, you've seen
it on the screen now. It's good old-
fashioned allure, the same as Negri, Naldi
and the others had. She is not voluptuous
in body, as Jean Harlow was, but she sug-
gests it through her eyes. They're hot and
smokey, the essence of mystery. They're
what men used to call "come-hither" eyes.
In person that same beauty and appeal
is there but somehow refined. Possibly the
lack of make-up accounts for that. Hedy
suggests the fragile yet stirring loveliness
of a full blown orchid. But she suggests it
only in appearance. In speech, thought and
action she is as direct and open as a field
daisy. And maybe that's the secret of
her ; she's confusing !
She had a doll her mother had just
sent from Vienna. She was as excited
as a child. "Isn't it lovely?" she asked de-
lightedly. Yet she'll turn right^ around
and appraise a person or a situation with
all the worldly wisdom you'd expect from
a woman twice her years.
There has been a lot of romantic gossip
about Hedy and Reginald Gardiner the
English comedian. Their names constantly
are linked in the public prints, with pre-
dictions of marriage coming at regular
intervals.
"What about him?" I asked. "Is it
serious?"
"Look, I'll show you." She led me into
a room in the back of the house. It was a
small, modernistic lounge with a pint-sized
bar, deep chairs and divans. On the wall
were gay posters of Austrian resorts, and
a dozen or so autographed pictures of
Hollywood celebrities, all neatly framed
in red.
"It's charming, but what about it?" I
said.
"Reggie fixed all this. You see, that's how
it is with us. He helps me. We're friends.
He has been like a nurse to me, cheering
me up when I was homesick, making me
laugh, helping me with English lessons.
But romance ? No !"
On the wall was a caricature of Hedy,
done in water colors by Reggie. It shows
her dressed in slacks and comfortable old
shoes. Over her head is a halo. She has
her back turned to the things she doesn't
like in life which were depicted as "castor
oil, scotch, champagne."
In the picture she is facing the things
she loves. They are labeled on boxes,
bottles and jimcracks and include "money,
a tremendous amount of anything fright-
fully expensive, Agnes hats, squash (the
vegetable), furs, candy, perfume, phono-
graph records, and How Not To Become
Bored With a Rolls Royce."
Under Gardiner's signature on the sketch
were the words fe amo in very small letters.
When I went to school that meant "I love
you."
Hedy's eyes opened wide when I men-
tioned it.
"My goodness," she said in great sur-
prise. "I never noticed that before."
Says Hedy !
I've Iwed an extra
month this year-
Like so many women, Janice
believed menstrual pain had
to be endured. As regularly
as her dreaded days came on,
she stopped "living" — gave
up all pleasure to give in to
suffering.
Then, a year ago, a thought-
ful friend told Janice about
Midol; how it relieves func-
tional periodic pain even at
its worst, and how it often
saves many women even
slight discomfort.
Now Janice is "living" again
— not just part of the time,
but twelve full months a year.
Letting Midol take care of
unnecessary menstrual pain
has restored to her a whole
month of wasted days !
MIDOL is made for women for one special purpose — to relieve the
unnatural pain which often makes the natural menstrual process so
trying. And Midol is dependable; unless there is some organic disorder
requiring the attention of a physician or surgeon, Midol helps most
women who try it.
Why not give Midol the chance to help you? It acts quickly, not only
to relieve tlie pain, but to lessen discomfort. A few Midol tablets shoiild
see you serenely through your worst day. Convenient and inexpensive
purse-size aluminum cases at all drugstores.
MIDOL
RELIKVES FUIVCTIOIVAI. PKUIoniT I'AIIV
79
MODERN SCREEN
SUITING THE SEASON
(^Continued from page 49)
blouse and the accompanying hat has a
narrow round brim and peaked crown.
A flat bow at the throat relieves the
plainness of a tailored blouse Rosalind
wears with a straight skirt and full length
coat. A patterned tweed jacket is paired
with a solid color, very flaring skirt. An
openwork yoke decorates the fitted blouse.
A diagonally striped jacket with a plain
skirt goes gay with black revers and
sleeves. A pill box hat tops a pencil
striped outfit of soft material with very
short jacket and dolman-like sleeves.
Maureen O' Sullivan and Jane Wyman
are suit conscious in "The Crowd Roars."
Sweaters of all types, from simple weaves
to lacy openworks, go with suits. Miss
O' Sullivan chooses a trim sweater with
a round white pique collar for a loose
jacketed tweed suit. A more tailored suit
has a trim white blouse, and her large
flat beret has a narrow band and bow of
white. Her dance frock has draped cap
sleeves and the ofi^-shoulder bodice line is
outlined with flowers.
Miss Wyman wears casual sports hats,
brims dipping abruptly in front, with two
different suits. One is a tailored tweed,
and the other a very feminine version of
masculine tailoring — something ^ like _ a
streamlined version of the old time min-
strel suit. The jacket is light with wide
black revers, and the saucy white vest
has a standing collar and black string tie.
"Give Me A Sailor" (or the glamming
of Martha Raye) has the rowdy vocalist
in a series of glamor gowns, dripping
When "Four Daughters" was
released, Priscilla Lane flew
to New York for the premiere.
It surely was her picture!
with fur, feathers and ruffles. Blonde
Betty Grable is forced, by the script, to
take a sartorial back seat to Miss Raye.
After a session in the kitchen in little
gingham numbers. Miss Raye blossoms
out in a sweeping princess coat deluged
with white fox. A white evening gown
cut low across the top has net ruffles
cascading over the shoulders. A white
formal has a black lace bolero and belt and
huge bow knots of the lace appliqued on
the bouffant skirt. A street frock is snowed
under in gray fox, the fur forming huge
cuffs on the three-quarter sleeves and
bordering the widely flaring skirt.
Betty Grable, who has the knack or the
gift of looking just a little better groomed
and band-boxy than almost anyone else,
has fewer costume changes but makes the
most of the ones allotted her.
A white bolero with black revers
dresses up a slim black frock. A new
half and half note is struck with a com-
bination of black and dotted material.
From the back, Miss Grable is wearing
form-fitting black. The front is dotted,
the top draped and its skirt is released into
fullness from shirring at the waist. Sort of
a half-dirndl effect.
Arleen Whelan's "Gateway" wardrobe
features two suits. One is light with
polka dot vest and lapels. The short
jacket of a black suit has lapels and tiny
breast pockets of white.
Anne Shirley and Ruby Keeler are
young ladies of an earlier day in "Mother
Carey's Chickens," but the jackets worn
with their long old-fashioned gowns would
be right in step with today's wardrobes.
The jackets are very short, with long
tight sleeves puffed at the shoulders, of
the bicycle-built-for-two era. Time marches
on. Both jackets and bicycles are enjoy-
ing a widespread revival. It isn't advisable
to raid the attic for jackets mother used
to wear, however.
MERE'S LONESOME LOU
KNITTING ONE, PURLING TWO
SHE THINKS THE BAD BREATH ADS MEAN YOU!
ARE YOU TELLING ME TO READ ^i^J
THIS BAD BREATH AO?
j OON'TGETMAD, SIS!
j «f/»5f READ IT--AND
I THEN SEE IF VOU DON'T
I WANT TO TALK TO OUR
' DENTIST TOMORROW y
TESTS SHOW THAT MOST BAD BREATH
COMES FROM DECAYING FOOD
DEPOSITS IN HIDDEN CREVICES
BETWEEN TEETH THAT AREN'T
CLEANED PROPERLY. I RECOMMEND
COLGATE DENTAL CREAM. ITS SPECIAL
J'eNETRATING FOAM REMOVES THESE
OD0R-BREEDIN6 DEPOSITS.
AND THAT'S WHY..
COLGATE DENTAL CREAM
COMBATS BAD BREATH
u see, Colgate's
special penetrating
foam gets into thehid-
den crevices between
your teeth that ordi-
nary cleansing meth-
ods fail to reach . . .
removes the decaying food de-
posits that cause most bad breath,
dull, dingy teeth, and much tooth
decay. Besides, Colgate's soft,
safe polishing agent gently yet
thoroughly cleans the enamel —
makes your teeth sparkle!"
LATER-THANKS TO COLGATE'S.
IF VOU KEEP 60IN6 OUT EVERY
NIGHT LIKE THIS, LOU, I'LL HAVE TO j
-FINISH MY SWEATER MYSELF!
-
NO BAD BREATH
BEHIND HER SPARKLING SMILE!
...AND NO
TOOTHPASTE
I tVERMADEMY
TEETH AS BRIGHT
AND CLEAN AS
COLGATE'S!
80
MODERN SCREEN
For Camera Perfect skin
you need
Beauty more than skin-deep
BETWEEN YOU N' ME
(Continued from page 15)
To my mind, his performance in "A Tale
of two Cities" was the most beautifully
done piece of work I have ever witnessed
on the screen. Charles Dickens himself
would have been completely satisfied. Not
one man in a million could have done that
last tragic scene by the guillotine with such
depth of feeling as Mr. Colman.
You can have your Flynns, Taylors and
Gables but give me Ronald Colman, a
gentleman in every sense of the word. I
can't wait to see his "If I Were King." —
Minor Robertson, Memphis, Tenn.
$1.00 Prize Letter
Oh, Yeah?
Boo hoo. With tears streaming down my
cheeks (sniff) and with a breaking heart,
I pen this letter of condolence to the poor,
abused movie stars. After reading Mar-
garet Forster's touching version of the
trials of stardom in the September "Be-
tween You 'n' Me" Department, I realized
what a miserable lot is theirs.
How hard it must be to accept the ad-
miration of millions, but bravely they
bear it ! Bravely they leave the squalor of
their forty-room mansions each day and
slave in the arms of beautiful co-stars 1 But
being courageous creatures they manage to
struggle along on a paltry five-thousand
dollars per week. Ah, what price stardom !
This is just a gentle hint that I think
Miss Forster's letter was, to put it bluntly,
a trifle ludicrous. We don't pity the stars ;
we envy them ! — Miss Garpow, Chicago, 111.
$1.00 Prize Letter
A Salute For Hollywood
With sincerity I salut-e Hollywood. It is
a place where passions and emotions are
manufactured daily with such realism that
they make the millions who compose the
movie audiences laugh or cry at their will.
Under crazily glaring hot lights, cold
eyes of cameras, loads of makeup, and
the critical stares of directors and tech-
nicians, the Hollywood performers put
their very souls into their roles that they
might live as other persons on a silver
screen 1 Your tasks are difficult and your
products are so valuable to us. I repeat —
I salute you, Hollywood, and may your
magic machinery hum and create, forever !
— Milton Swiren, Mont Alto, Penn.
$1.00 Prize Letter
Bette Davis
Perhaps Bette Davis was telling the
truth when she exclaimed, "Am I Homely !"
in an article in September Modern Screen
— but wait, not so fast !
It's altogether possible that her eyes do
bulge and that her mouth isn't just as
she'd like it, but I don't see any reason for
Bette to judge herself so harshly. I ask
you, is there another star in all Hollywood
who works as hard as Bette Davis and puts
so much of herself into every endeavor?
Remember the scene in "Jezebel" that
took place on the stairs — Bette's pleading
with Margaret Lindsay? Well, if there's
another actress in all filmdom who could
have played that scene with the same per-
fection, I'll eat my shoe (strings and all).
So please. Miss Davis, remember the
next time you see your image in the mirror,
that through hard work and earnest effort
you have developed a most intelligent coun-
tenance— a beauty much more than skin
deep. — Alice Bohmer, New Britain, Conn.
This cream contains two elements
which are basic beauty builders.
One makes for purity and clear-
ness. The other for skin vitality.
"/^AMERA PERFECT ! " These words describe
the complexion that meets the hard-
est tests triumphantly. The skin that looks
as clear and lovely under the noon-day
sun as in mellow evening light.
Two elements in Woodbury Cold Cream
help to give beauty more than skin-deep.
One of these elements keeps this cream
germ-free throughout your use of it. Such
lasting purity encourages fault-free skin.
The second element in Woodbury Cold
Cream stimulates the skin's rate of breath-
ing. This is the skin-stimulating Vitamin
which contributes to the skin's vitality.
Buy Woodbury Cold Cream today for
only m, 25!*, 50(4 or $1.00. Let it help
you win a lovely "Camera Perfect" skin.
SEND for Trial Tubes of Woodbury Creams
John H. Woodbury. Inc.. 6795 Alfred St., Cincinnati, Ohio
(In Canada) John H. Woodbury, Ltd., Perth, Ontario
Please send me trial tubes of Woodbury Cold and Facial
Creams; 7 shades of Woodbury Facial Powder; guest-size
Woodbury Facial Soap. I enclose lOP to cover maihng costs.
Name — —
Address —
81
MOVIE REVIEWS
{Continued from page 6)
i^iriK Letter of Introduction
Andrea Leeds has the letter, and it's an
introduction to a famed actor, Adolphe
Menjou, who is really her father. _ Since
he is something of a matinee idol it is con-
sidered unwise to advise his public that
he has a daughter as old as Miss Leeds,
so he calls her his "protege" and sponsors
a stage career for her, an interest which
seems all too enthusiastic to Mr. Men-
jou's fiancee (Ann Sheridan) and Miss
Leeds' gentleman friend (George Murphy),
who do not know of the relationship. The
story is constructed on this rather slender
thread but, thanks to good performances
and the welcome presence of Edgar Ber-
gen, Charlie McCarthy and a wooden in-
terloper named Mortimer Snerd, a good
time will be had by all who go to see "A
Letter of Introduction."
The director has contrived to make
Edgar Bergen an essential character in
the story rather than drag him in by
McCarthy's heels as was done in "The
Goldwyn Follies." Bergen and McCarthy
are a pair of smooth performers and fur-
nish most of the film's comic moments.
McCarthy has an uneasy moment or two
when Bergen introduces the rival, Mor-
timer Snerd, a country bumpkin who is
destined for instant favor.
Both Adolphe Menjou and Andrea Leeds
perform creditably, and there are_ good
portrayals by the supporting cast. Directed
by John Stahl. — Universal.
-ki^i^ Sing You Sinners
Like old wine and money in the bank,
Bing Crosby improves with age. The
Groaner has always been a likeable screen
personality, but now for the first time in
his career he really acts. The character
he creates — Joe Beebe — lives and breathes,
and Crosby plays him so well one alrnost
suspects the portrayal is autobiographical.
Bing will probably never win an Academy
Oscar for his histrionics, but he does play
a drunk scene (one of the most difficult
items in an actor's repertoire) so beauti-
fully that it becomes the outstanding mo-
ment of the picture.
Joe Beebe is a guy with great ideas, and
he expects one day to make a million. In
the meantime, he hasn't a job, so Dave
(Fred MacMurray) has to support the
family (Elizabeth Patterson and Donald
O'Connor) and put off his marriage to
the village belle (Ellen Drew). But Joe
finally leaves town, gets into a big deal
and subjects the Beebes to a generous
quota of excitement.
There are swell performances from the
entire cast. Elizabeth Patterson is per-
fect as the harassed mother ; Donald
O'Connor and Ellen Drew, in their screen
debuts, are definite finds, and Fred Mac-
Murray does his usual good work. There
are two hit tunes among several sung by
Bing and by the trio (Bing, MacMurray
and O'Connor). "Pocketful of Dreams"
is one and "Small Fry" another. Wesley
Ruggles directed. — Paramount.
-ki^i^ I Am the Law
A good rousing interpretation of the
racket-busting industry usually makes fine
screen entertainment, and since "I Am the
Law" is the best racket-busting film that
has come along so far this year we can
promise you a thoroughly enjoyable eve-
ning in the theatre. With Edward G.
Robinson in the lead, furnishing one of
his best performances, the picture has
everything to recommend it to audiences
interested in an exciting and an intelli-
gent treatment of one of this country's
most topical problems.
In a city overridden with rackets, Rob-
inson, a law school professor, steps in to
take charge of a clean-up campaign. De-
nied funds by a city council backed by
supposedly legitimate business men who
are actually the men behind the rackets,
Robinson drafts his best law students and
continues on his own. A well-constructed
screenplay avoids the pitfalls encountered
in the usual racket picture, and Alexander
Hall's direction accounts for its speed.
Robinson runs the gamut in the role of
the prosecutor — he even exhibits an ex-
cellent version of the big apple. Barbara
O'Neil is handsome and dignified as his
wife, Wendy Barrie is a svelte and be-
Myrna Loy and Clark Gable
together again in "Too Hot to
Handle."
lievable racket queen, and John Beal per-
forms credibly in the role of Robinson's
assistant. Best performance in the sup-
porting cast, however, is Otto Kruger's
splendid portrayal of the racketeer who
poses as a civic leader. — Columbia.
-ki^ Give Me a Sailor
We are happy to report that the star
of this picture is Martha Raye— not
Moutha. For she doesn't indulge in one
blood-curdling yip, not even a "yeah
man," and the result is a performance of
which Martha should be proud. It's a
good-humored story of home, sweet home
— as happy a home as could be expected
when there are two daughters, one a
beauty and the other an ugly duckling.
Betty Grable's the gal who's got allure
and Martha's the one who's got the left-
overs— left-over clothes, money and beaus.
This state of af?airs has been going on for
years but comes to a climax when the man
they both love (Jack Whiting) gets shore
leave and has marriage in mind. The
sailor's sweethearts forget all the bonds
of sisterhood in their tactics from there on.
Martha enlists the help of Bob Hope.
Jack's brother, to help snare her man, and
in return promises to get Betty for Bob.
But overnight Martha becomes a femme
fatale. Through a mix-up, when she en-
ters a picture of her cookie "Yum Yums"
in a prize contest, a shot of her "Yum
Yum" underpinnings is included. She
suddenly finds herself the winner of "the
most beautiful legs in the world" contest.
It's all pretty silly but there's a genuine
laugh a second to offset it. Martha's
performance shows a sympathetic under-
standing and dramatic ability which has
heretofore remained hidden. Betty Grable
is an eyeful, as usual, and handles her role
competently. Bob Hope scores decidedly.
Directed by Elliot Nugent. — Paramount.
ki^ Always In Trouble
You know that a title like this can
mean only one thing — Jane Withers. Jane
actually manages to get into more trouble
here than in all previous pictures put to-
gether. And that, you also know, is going
some. But though she tackles every scene
with customary gusto, the picture does not
measure up to former standards.
The story concerns a family who get
into one predicament after another, all
dating back to the day when Dad (Andrew
Tombes) becomes a millionaire over night.
As far as Dad and his youngest daughter
(Jane) are concerned, they see no reason
why a million dollars should change their
lives. But Mother (Nana Bryant) and
the eldest daughter (Jean Rogers) see no
reason why all that money can't make
society folk out of them. Drastic methods
have to be taken to save the family from
going phoney and Miss Fix-It Withers
is just the girl who can do it. Among
other things, in a whole-hearted attempt
to get them straightened out, Jane man-
ages to get them ship-wrecked, puts them
at the mercy of smugglers, and just misses
getting the whole outfit kidnapped. But
in the end she gets the high flyers, mother
and big sister, down to earth and even
imports a fine young man (Robert Kel-
lard) to make a sensible wife out of Jean.
Directed by Joseph Santley. — Tzventieth
Century-Fox.
The Gladiator
They've given Joe E. Brown his best
script to date in "The Gladiator." And
he takes full advantage of every_ oppor-
tunity, which guarantees a fine time for
all. This time Joe E. goes collegiate with
rah rah aplenty. Some twelve years previ-
ous he has had to quit his freshman year
because of financial embarrassment, but
when he wins $1,500, at a Bank Night he
beats it right back to the old Alma Alater.
It looks like Joe's in for an awful beating
from his classmates — particularly when
they start using him for a tackling dummy
on the football field. But the second
day he comes out and _ mows 'em down.
No one is more surprised than Joe_ E. —
for during the night an eccentric professor
has injected a serum into his arm which
gives him super-human strength. After
winning glories for old Webster he next
tackles Man Mountain Dean in the fight
of the century. Man Mountain's tossed
about like a tooth-pick for the first fifteen
minutes. Then Champ Brown gets his —
for the serum begins wearing off. Sus-
pense is terrific, not only for the audience
but for June Travis, queen of the campus,
who's managed to get the obliging Joe
into all his troubles. The supporting cast
is entirely commendable. Directed by Ed-
ward Sedgwick. — Columbia.
82
MODERN SCREEN
**** You Can't Take It With
You
With more human appeal than his last
production ("Lost Horizon") and almost
as much as his greatest ("Mr. Deeds Goes
To Town"), Frank Capra's latest film
achievement will easily rank among the
best pictures of the year. Capra, who is
accustomed to turning out hits, has taken
the Kaufmann-Hart Broadway success and
with writer Robert Riskin has as delight-
ful and heart-warming a picture as you'll
see in many months.
"You Can't Take It With You" is the
story of the Sycamores, an amiable and
eccentric family which believes in doing
exactly what it pleases. Headed by Grand-
pa Sycamore, who decided some thirty-five
years back that he didn't like his work
(and stopped working that instant), the
family consists of Penny, who writes plays
because someone left a typewriter at the
house by mistake; Paul, her husband, who
makes fireworks in the basement, assisted
by a Mr. DePinna, an iceman who stopped
one morning and decided to stay ; Essie,
who makes candy and studies ballet danc-
ing with a Russian exile who manages to
drop in every evening at dinner time, and
Alice, who is Penny's daughter and the
only more or less conventional member of
the family. When the Sycamores encounter
Anthony Kirby, the financial tycoon, and
his family, there is conflict, fireworks and
everything. Even love has its inning.
Of the cast, Edward Arnold as Anthony
Kirby is probably the standout performer.
Jean Arthur and Jimmy Stewart are ex-
pert in the romance department, in roles
which will add to the prestige of them
both. Spring Byington is amusing as the
rattle-brained Penny, and Ann Miller
furnishes excellent comedy as the ballet
dancing Essie. Mischa Auer, as her Rus-
sian instructor, makes the most of his
comic moments, and there are perform-
ances deserving more than passing men-
tion by Donald Meek, Sam Hinds, H. B.
Warner, Mary Forbes, Halliwell Hobbes,
Eddie Anderson, and especially by Harry
Davenport, whose fine portrayal makes his
one scene one of the picture's most impor-
tant. Only fault this reviewer can find is
Lionel Barrymore's performance in the im-
portant role of Grandpa Sycamore. Lionel
Barrymore, even under Capra expert
guidance, is still playing Lionel Barrymore.
Directed by Frank Capra. — Columbia.
"j^"^"^ Carefree
"Carefree" is a happy union of song,
dance and story, plus a happy reunion of
the screen's ace dance team, Ginger Rogers
and Fred Astaire. Miss Rogers and Mr.
Astaire celebrate the occasion by giving us
the best performances of their careers.
"Carefree" is as good as any previous
Astaire-Rogers musical, and it will be
looked upon by some as their best. Cer-
tainly it is the most imaginative. Another
definite advantage is a sound story which
admits their dancing as part and parcel of
the plot. We may as well go the whole
route and say that for the first time in
the screen history of Fred Astaire and
Ginger Rogers there is not a single case of
mistaken identity in the entire picture.
Astaire is a psychiatrist hired to
straighten out the love life of Miss Rogers,
a radio singer. When he places her in a
hypnotic state in which she loses all her
inhibitions, she becomes infatuated with
him, tosses bricks at store windows, makes
faces at her radio sponsor and tells her
listeners that his toothpaste is positively
the worst stuff on the market. Later, con-
vinced by Astaire that he is not worthy of
her, she is about to mary her original
suitor, Ralph Bellamy, when she snaps out
of her trance on her wedding day and
marches up the aisle with the right gent.
Irving Berlin's songs are excellent, but
neither Rogers nor Astaire are vocally up
to the job of putting them over. Their
dances, however, are skillful and beautiful
to watch. A dream sequence, done in slow
motion, is so good it will be copied by
many future musicals. Their feature dance,
"The Yam," is everything you'd expect of
the team, even though it's much too intri-
cate for ordinary mortals to copy on the
ballroom floor. Mark Sandrich directed. —
RKO-Radio.
**The Road to Reno
It's difficult to classify this one, because
it combines two distinctly different types of
opera— grand and horse — and winds up as
a satire of sorts on the Nevada divorce
laws. If you are a lover of any of these
three brands of entertainment, perhaps
you'll find your moments of pleasure in the
picture. The combination would have been
a happier one, however, had the story
fashioners contrived a more logical tale and
embellished it with dialogue without so
much of a manufactured ring to it.
Hope Hampton, returning to the screen,
photographs well and sings beautifully.
She has difficulty, however, making any-
thing genuine out of the character she
plays. The blame here can be handed to
the scenarists, who present, at the pic-
ture's start, an opera star about to enter
divorce proceedings against her husband,
a cowboy with whom she hasn't lived for
(Continued on page 107)
IE st^Rs y^QpK HARD?
IT'S
HOLLYWOOD'S
FAVORITE i
CANDY i
5«
roJ!'**"* r^^J^^fh.
»Oot/,
e/ie
If'*
EllCIOUS FOOD
83
DOWN WITH DULL DINNERS
The Lloyd Nolans offer fine recipes in their campaign for more exciting menus
AT A TIME of year when politicians are filling the air with
adjectives and agitating for all kinds of urgent reforms, Lloyd
Nolan wishes to go on record as advocating the complete
abolishment of routine, unimaginative, cut-and-dried,
commonplace meals ! He feels even more
strongly on this subject when such meals
include foods that are served "because
they are good for you !"
"Just combine dullness with duty in
your menus," declares this dashing
young character actor, "and you'll
never win a vote of approval from
your family. You won't be
elected 'the people's choice' as
a hostess, either !"
"I'm convinced," broke in
his charming wife, Mel,
"that enjoyment affects both
digestion and nutrition.
Women would be wiser if
they paid more attention to
flavor, seasoning and origi-
nality in preparing every-
day meals."
Acting upon her own sug-
gestions, Mel Nolan has
evolved — for the special de-
lectation of her attractive
husband — many grand dishes,
combinations of foods and
menus that are distinctive and
different. Furthermore, in her
food researches she has discovered
that the familiar cooking directions,
"season to taste," can mean a deal
more than just adding salt and pepper!
"It's surprising, for example, what a
little curry powder can do to a dish that
might otherwise be thought of as just another
lamb stew," this Hollywood hostess observed sagely.
And how delightfully changed is a roast of veal when it boasts
a special stuffing which the Nolans favor, one that I'll wager you
have never tried before. Why, even baked apples become
proud, aristocratic "beauties" when prepared accord-
ing to the recipe I'm about to give you here.
The first of these treats — ^the Curry of
Lamb — is the featured dish on the in-
triguing menu shown further along, as
set down for us by Mrs. Nolan. Her
recipe for this prime favorite of
hers also follows, together with
directions for making two other
Nolan specialties which are
quite as deserving of your at-
tention. That is, if you intend
to adopt Lloyd's stirring slo-
gan : "Down with Dull
Dinners !"
Remember, too, that when
you try your hand at the
unusual, every meal will
seem like a party. And, by
the way, there are a couple
of special occasions coming
up soon which you'll want to
celebrate fittingly. Not only
from the standpoint of foods,
but of table decorations. I
refer, of course, to Hallowe'en
and Thanksgiving, both of
which present as good an ex-
cuse to entertain charmingly as
one could hope to find. You can
serve the Lloyd Lamb Curry and
the baked apple "Beauties" on the first
of these two occasions. And you can
make both events outstandingly successful
by sending in the coupon which will bring
you directions for making attractive, yet inexpen-
sive, table decorations. Those for Hallowe'en feature
witches and pumpkins ; while for your Thanksgiving dinner table
84
Roast stuffed breast of
veal, Carolina.
there are turkey napkin holders as well as special favors for each
guest and an extra-special centerpiece arrangement. Easy to do,
easy to secure — and free. So don't forget to mail in the
coupon with your request for either or both.
LLOYD AND MEL NOLAN'S INDIAN
CURRY DINNER
Vegetable Soup
Curry of Lamb
Baked Bananas
Rice Chutney
Molded Tomato Salad
Rolls, Split and Toasted
Raspberry Ice
Tea
CURRY OF LAMB, a la
LLOYD NOLAN
2 pounds lamb (shoulder,
breast or leg)
boiling water to cover
Ys cup butter
1 large onion, chopped fine
1 large apple, diced
5 outside stalks celery,
chopped fine
2 teaspoons curry powder*
cup cold water
cup seedless raisins
3 egg yolks
Y cup milk
salt and pepper, to taste
grated cocoanut, shredded almonds
iisy Sun-Maid Have lamb cut into one-inch
pieces, after removing all bone, fat
and gristle. Wipe meat, cover with boil-
ing water and cook slowly until meat is
tender. Strain and measure stock. There
should be ZYi cups (add more water, if necessary, to
make required amount). Melt butter in large skillet
or dutch oven. Add the onion, apple and celery. Cook until
tender, without browning. Add curry powder which has been
mixed with cold water to a smooth paste.* Cook and stir until
blended. Add lamb and lamb stock, then the raisins
which have been rinsed in hot water and'
drained. Season to taste with salt and
pepper. Cover and simmer gently for
twenty minutes. Just before serving
beat yolks of eggs with the milk.
Add a little of the hot lamb liquor
to them, then add this mixture
very slowly to the curry mix-
ture, stirring constantly. Con-
tinue cooking and stirring un-
til smooth and slightly thick-
ened. Serve on very dry,
fluffy rice. Pass bowls of
grated cocoanut and shred-
ded almonds, to be sprinkled
over the curry. Chutney is
the traditional accompani-
ment, you know.
ROAST STUFFED
BREAST OF VEAL,
CAROLINA
4 pounds breast of veal
IY2 cups sifted flour
^ teaspoon salt
3 teaspoons baking powder
Y2 teaspoon soda
1 tablespoon sugar
'Y cup yellow corn meal
154 cups milk
1 egg, beaten
5<3 cup seedless raisins
Y3 cup minced onion
Y2 cup sliced mushrooms or diced celery
* Add more curry powder if a stronger curry flavor is desired.
For a very hot curry add a dash of Tabasco sauce, advices Mel Nolan.
The Lloyd Nolans ready
for one of Mel's dinners.
MODERN SCREEN
BY MARJORIE DEEN
1 cup canned bouillon
a pinch of sage
salt and pepper, to taste
^ cup hot water
Have your butcher bone the veal. Rub
inside and out with salt and pepper. Com-
bine flour with the % teaspoon salt, the
baking powder, soda and sugar; sift to-
gether. Mix in corn meal. Beat in milk
and eggs. Fry on hot oiled griddle or
in greased iron skillet as for griddle cakes.
When all are fried and cooled, break in
small pieces into a bowl. Rinse raisins in
hot water, drain and add. Fry onions and
mushrooms (or celery) in small amount
of fat until onions are soft. Add this mix-
ture to raisin mixture. Moisten with J4
cup of the bouillon, add sage and salt and
pepper to taste. Mix together thoroughly.
Lay the boned veal out flat. Spread stuf-
fing on boned side and roll up as for jelly
roll. Skewer in three places ; tie around
the rolled meat and through the skewers,
securely, with white cord. Brush entire
outside of roll with melted fat. Place
meat on rack in baking pan or roaster.
Pour remaining ^ cup of bouillon, com-
bined with water, in bottom of pan. Bake,
uncovered, in moderately slow oven (325°
F.) until meat is tender, about 3 hours,
basting every 20 minutes with liquid in
the pan, adding a little more water, when-
ever necessary, to prevent burning.
BAKED BEAUTIES
4 large baking apples
^ cup seedless raisins
J4 cup chopped nut meats
6 tablespoons honey
1 teaspoon Angostura
2 tablespoons butter
cup water
Choose extra-large apples, suitable for
baking. Peel the top half only of each
apple. Remove each core generously but
carefully so as not to cut the apple all the
way through (this will keep juices in the
apples as they cook). Rinse raisins in hot
water, drain. Combine with chopped nuts
and place a couple of spoonfuls in each
apple. Mix honey and Angostura. Pour
a tablespoonful into each apple, and spread
a little of the mixture over the top of each
apple to glaze it. Place apples in shallow
baking dish. Dot apples with butter and
pour water around them, to prevent burn-
ing. Bake in moderate over (375° F.) for
one hour, or until tender. Serve plain ; or
with whipped cream or hard sauce.
HOME SERVICE
DEPARTMENT
MODERN SCREEN Magazine
149 Madison Ave., N. Y. C.
Please send me illustrated, easy-to-
follow directions for special Hallow-
e'en □ Thanksgiving □ table decora-
tions. Check either or both.
Name
Address
City State
1. I said SOmethin' a couple of weeks
ago that made Mom so hopping mad,
I almost caught a licking.
2. We were at Aunt Lola's and i piped up:
"Gee, Mom, look at how white this nap-
kin is! Our things must have tattle- tale
gray or somethin' 'cause they never shine
like ihis.^' . . . Zowie! Mom flew for the
hairbrush.
3. But lucky for me, Aunt Lola stopped
her. "It's the truth, so why get angry . J*" she
told Mom. "Your lazy soap leaves dirt
behind. If you'd switch to Fels-Naptha
Soap as I did, your clothes wouldn't
have tattle-tale gray."
4. So Mom forgot to spank me and went to the grocer's for some Fels-Naptha.
This morning, she was raving about how its richer golden soap and lots of gentle
naptha wash clothes so white and nice. And, golly, if she didn't give me a ciuarter
for a pony ride!
COPn. 1938. PELS a CO.
BANISH "TATTLE-TALE GRAY"
WITH FELS-NAPTHA SOAP I
NEW! WONDER
FLAKES! TRY
FELS-NAPTHA
SOAP CHIPS, TOG!
85
MODERN SCREEN
AND FATHER IS DOING WELL
(Continued from page 36)
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We smoked each other's cigars."
Shortly after the baby was born Joan
was put on a strict diet, with a special
diet nurse in attendance, and at the same
time Dick received one of his bi-annual
notes from Mr. Warner — a note which al-
ways says simply, "Dick, take it off — "
and Dick knows all too well the meaning
of that. It means that he's put on an extra
pound or two and had better get rid of it.
On this occasion he made it an excuse
to be with Joan at the hospital for three
diet meals a day. "It's hard to diet alone,"
he told the nurse, "but if I diet with Joan,
it'll be easier for her. So how about it?
Can't I join her at meals?" And the nurse,
swayed by the Powell grin, had to let him
have his way.
All new papas are a little nutty, of
course, but Dick was one of the most
jittery about-to-be-papas that we've had
around Hollywood in a long time. Sev-
eral weeks before the baby arrived Dick
was at work in "Head Over Heels" and
had to be on location several miles from
a telephone part of the time. That meant
he would be out of touch with Joan, but
Dick devised a scheme to remedy that.
FEW people realize that Dick is a true
handy-man at heart. Just last month he
took the ailing Powell washing machine
apart and put it together again, and the
month before he built a fence. But, unlike
Tom Sawyer, he white-washed it himself.
Also on his sailing boat, the Eroica
(which is a Beethoven Symphony, in case
you are curious about the name), he has
a short wave radio transmitting set and is
licensed by the radio commission as an op-
erator.
It was Dick's experience in this con-
nection which gave him the idea for keep-
ing in touch with Joan, even while he was
on location : to install one of those new
two-way short wave marine telephone sets,
with which he could pick up anything with-
in a radius of a hundred miles of the har-
bor radio station. All Joan would have
had to do then was to telephone the sta-
tion and they would broadcast a message
to Dick. Without this safety precaution
to ease Dick's mind, he might not have
been able to finish the picture with so
much calm and ease.
However, now that that is all over, father
is doing well. He naturally receives con-
gratulations on every side, and when asked
how the baby is, he answers enthusias-
tically, "Prettiest thing in town !" They
named her Ellen just because they liked
the name. It was simple and not gaudy,
and not theatrical — just like the parents
themselves. Had Ellen been a boy she
would have been David Blondell Powell.
But Ellen is Ellen and they are glad of it,
since they already have Joan's boy, Nor-
man. Normie is three-and-a-half now, and
quite the first light of Dick and Joan's
lives, and will remain so, since there is to
be no nose-throwing-out-of -joint in the
Powell household.
"Normie is strictly a boy's boy," Dick
said. "One month he is a cowboy, with
all the contraptions and all the whoops.
The next he's a fireman, with wailing
siren and a fireman's helmet slipping down
over his eyes. This morning when I left
he had gone Mexican. The next thing I
know he'll be an actor. Now we're very
glad to have a girl.
"You know, Joan simply adores children,
not only her own, but everyone else's too.
During the last few months before Ellen
was born she spent every day on the beach,
with Normie. They went to the beach
club, but Joan never spends any time with
the grown-ups there. You'll always see
her off down the beach somewhere, with
about sixteen kids grouped around her.
She builds sand castles with them, digs
tunnels, tells them stories, somehow man-
ages to keep them amused, and herself too.
She and Normie always took their lunch
with them. Sand in the sandwiches makes
no difference to them !"
Dick has always been mad about sail-
boats, so while Joan stays in the sand,
Dick sets sail on the sea. It's a very real
compliment to them, that they can and
do leave each other to their own par-
ticular likes — when it comes to pastimes
and sports. They are so thoroughly de-
voted to each other that they actually en-
joy seeing the other do what appeals most,
whether they are together in the doing or
not.
Dick bought his very first boat several
years ago. Then he traded it in on the
larger Eroica, and last spring he had
dreams of capturing the cup in the "around
the island" race, off Catalina, sponsored by
the California Yacht Club.
"The first race I had ever been in, and
it would be the time of the greatest storm
on the West Coast in twenty years ! Just
my bad luck. I was one of twelve racers
who started out, and only two boats even
finished at all. The wind and rain started,
that same wind and rain that brought on
last spring's terrible flood, and my skipper
and I soon saw that we were being driven
into the Isthmus, and if we didn't turn
around and start back we'd be dashed
against the shore. We had to use the
motor and it took us eight and a half hours
to go back eighteen miles — so you can
know how bad it was. But I'm not going
to give up. The next race, you can be
sure, barring an act of God, I'll at least be
in on the finish !"
Few people think of Dick in this light —
as a man seeking adventure, a man who
keeps fighting for his goal. He has al-
ways seemed so smiling and good natured,
so easy come, easy go. But behind the
placidness of the Dick exterior there is
the battling spirit.
AND not the least of the battles he has
waged has been the one in his career —
his wish to be allowed a chance as an
actor, in a non-singing role. For years
Dick has sensed that a motion picture
career built on song had weak links in
its chain, and recently he rebelled and
refused to do the next singing part which
the studio had lined up for him, the one
in "Garden of the Moon." which John
Payne did eventually in his place. He
sat tight at home, and then finally re-
turned for "Head Over Heels," in which
he sings only one song.
Dick said to me with humor and honesty,
"If there is one thing I hate it's being
known as a boy \ylio is always ready to
break into song, and I think audiences,
after too much of it, will begin to hate it
too. That's the thing I want to look out
for. I love to sing, as every singer does.
But I want to act, without singing, now
and then. The only non-singing pictures I
ever did was when I first came to the
screen. I did one with George Arliss, and
another with Will Rogers. But people
have already forgotten about those."
Dick has another unfulfilled wish too.
"Joan and I would like more than anything
to make a picture together. ^ I think,
naturally — " with another grin, "that she's
86
MODERN SCREEN
one of the best actresses in pictures, and
I want to work with her, but there's that
old bugaboo to be overcome : that married
couples are not romantic in pictures. I
can't see that point of view, but producers
seem to feel that audiences wouldn't be
excited about man and wife appearing to-
gether. And yet what is more romantic
than marriage? But maybe I am too old-
fashioned about marriage."
Those words coming from Dick are a
bit astounding since a few years ago he
was a complete cynic as far as love and
marriage were concerned. Having had
one early first try which was unsuccessful,
he had let it blight his outlook. Then, too
shortly after "Flirtation Walk," when
Dick's stock and his salary went up and
up, and he found that girls were delighted
to appear with him here, there and every-
where, he was beset with the very serious
question of whether he was being liked
for his company, or for the accompanying
flash of photographers' lamps which trailed
him wherever he went.
Dick Powell certainly is not one
to thrive on artificiality, and it was this
aspect of Hollywood romances which wor-
ried him. He wanted marriage, if he was
to have it at all, for a home and content-
ment, and not to make of it a double bar-
relled bid for publicity.
That's what Joan and Dick have now,
a perfect home, an ideal family life.
And it's the most that these two want of
life. Their careers are still important to
them, but their careers are not a drain and
a strain in their lives. Dick is quite frank
in saying that if Joan had to stop acting she
would probably miss it more than he
would, for she was born and brought up
a trouper. As for him, if his career were
finished he could turn to something else
without one backward look because the
desire to be in the public eye is one which
has never hit him.
The one thing that Dick Powell
knows he will have to face, if ever
that time comes, is an adjustment in his
living expenditures. The Powells do not
live extravagantly now (the boat is really
the one luxury Dick allows himself), but
they do live in pleasant comfort, such as
another less lucrative business might not
allow. But when Dick reaches his forties
and fifties, you will never find him flinch-
ing and flushing when he overhears some-
one say, "That's Dick Powell. Remember
him when he strolled down Flirtation
Walk and had twenty million sweet-
hearts ?"
If you could meet the Powells at home
on one of their drop-in Sunday afternoons,
you would know yourself that the aura
which radiates from them is one of utter
happiness. Their home itself is an invita-
tion to cheer. Windows open to the sun-
light, doors thrown wide, big easy chairs
and divans everywhere on which to lounge
and relax. They practically live in the
study, and there, on the tremendous round
coffee table around which everyone gath-
ers, is a perfect indication of their hos-
pitality, a cigarette box two feet long, filled
with cigarettes, open so you get the mes-
sage at once, "Help yourself."
The whole house is like that, everything
for convenience and ease, everything with
a spirit of generosity, of wanting to be
shared. Ask Dick who comes there on
Sundays and he says, "Anyone who likes
to laugh.
We have lots of just silly fun — games,
stories, conversation about anything and
everything but shop."
Sometimes Dick does not even join in.
While the merriment goes on he may
be off in the corner fixing an electric light
plug, or rigging up an extension for some
lamp, for Dick and Joan are never host and
hostess in the organizing sense.
A BRILLIANT scasoii of silks and satins,
gleaming with highlights. Of glittering
jewels and sparkling ornaments. "You may
shine from head to toe", says Fashion, "all
but your nose!"
Nose shine is often due to an over-
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in the presence of germs, may go from bad
to worse. But now Woodbury helps subdue
this hateful shine! Woodbury Facial Pow-
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favorite, Windsor Rose. $1.00, 50(4, 25(f,
10?^. Wear Woodbury Germ-proof Rouge
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(In Canada) John H. Woodbury, Ltd., Perth, Ontario.
Please send me 7 shades of Woodbury Facial Powder; trial
tubes of two Woodbury Beauty Creams; guest-size Woodbury
Facial Soap. I enclose 10c to cover mailing costs.
Streets
In the rich blue boudoir box at drug and cosmetic counters everywhere.
87
MODERN SCREEN
1
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SHIRLEY DISCOVERS AMERICA
{Continued from page 27)
"She visited about twelve classes. When
she came to one in the fifth grade, a little
girl, who had evidently been chosen to
make a speech welcoming Shirley, stood up,
opened her mouth, gulped, was so over-
come with excitement that she couldn't
speak, and remained standing there, mouth
still open."
" 'She wanted to make a speech,' " some-
one whispered to Shirley, " 'but she's em-
barrassed.' "
" 'Oh, that's all right,' " said Shirley.
" 'I'll make a speech instead.' " "And
Shirley, always mistress of the situation,
said, 'It's lovely to be visiting here. Today
I saw Boulder Dam, and thought it was
wonderful. Have any of you seen the Dam?'
"Since the fathers of most of the girls
at the school worked on the Dam and they
had visited it many times, that broke the
ice immediately.
WHEREVER Shirley went— in Zion
Park, where she stared amazed at the
peaks, in Bryce Canyon, where the but-
tresses rise like minarets of every color,
and at the north rim of the Grand Canyon,
where she caught her breath in wonder at
the sheer majesty of the Canyon, Shirley
took color pictures with her.
"Though Shirley was having a swell
time, she didn't forget her friends at home.
In Bryce Canyon she bought things for
her two brothers, and remembered to send
them cards — a card with a picture of a
mail bag to remind Jack to write and a
card with a little pair of riding chaps for
George, to serve, she said, as a mascot
for his horse. At Zion National Park she
bought an Indian doll for May Isleib, her
stand-in, and sent her a card.
"One of the things that interested Shirley
most during her trip was discovering new
kinds of animals that she had never seen
before. In Hollywood she had seen camels
when she played in 'Wee Willie Winkle.'
She had seen elephants and occasionally a
monkey, but she had never seen tigers,
panthers and giraffes. Whenever she came
to a city where there was a zoo, Shirley
made a bee-line for it. At Colorado Springs,
she and her parents stayed at the Broad-
moor Hotel, which Spencer Penrose, who
discovered the famous Cripple Creek Mine,
built as a hobby. Back of the hotel was a
zoo containing three hundred animals,
which Shirley, fascinated, visited.
"In Chicago, she visited the Brookfield
Zoo, and said that of all the animals she
liked the does most — they were so gentle-
looking. She also adfnired the peacocks,
and exclaimed over the fact that their tails
quivered. At the Chicago zoo was a baby
panda named Mei Mei, only eight months
old and very tame. After watching the
trainer handle the baby panda, Shirley was
asked if she would like to go inside the
cage and make its acquaintance. Breath-
lessly she nodded, and then without a
quiver of fear, she walked inside the cage
and stroked the fur of the beautiful animal.
"One of the things that impressed her
most in Chicago was her first sight of the
elevated. 'Why, it's a railway on stilts,'
she exclaimed. When the Temples were
asked if they would like a special train
for their party, they readily agreed and for
two hours the Temples traveled around
Chicago on a train which contained only
Mr. and Mrs. Temple, the president of
the railroad and his son, two conductors,
the motornien, the bodyguards and myself.
"Since there was a 'dead man's switch'
which worked autoinatically, the motorman,
who stood just behind Shirley, let her
handle the switch, which operated the car.
"Among the sights which impressed
Shirley most on her trip was her first view
of Great Salt Lake. Amused she watched
the bathers go in, swim around, and come
out covered with layers of salt. Shirley
herself didn't go in swimming, but she
went out to the edge of the lake on the
float, put her finger into the water, and
tasted it. Then she made a wry mouth.
It certainly was salty.
"In Washington, D. C, Shirley was
brought in to visit President Roosevelt,
who asked for her autograph. Then, glanc-
ing over the collection of boats on his desk,
he said, 'What do you think of these
boats ?' "
Shirley, who seems instinctively to un-
derstand what it took Dale Carnegie years
to learn, that people like it when you talk
to them about their hobbies, said, "I like
boats very much and I understand you like
fishing. The only fishing I ever did was
once when I caught a salmon."
"With what kind of a hook did you
catch it?" asked the President.
"I don't know," said Shirley, "but I
caught it."
_ Shirley pointed to an empty spot at the
side of her mouth and sighed, "I've just
lost a tooth."
The President smiled. "You don't know
how lucky you are," he said. "Sistie and
Buzzie lose 'em in front."
Later she met Sistie and Buzzie, the
President's grandchildren, at Mrs. Roose-
velt's home at Hyde Park, and frolicked
with them through one golden summer
afternoon, playing ball, watching them
swim and lunching with them.
When Shirley attended the horse races
at the Westchester Country Club at Rye
that evening, with the Governor's party, she
was almost the only person who watched
the races, for everyone else was watching
Shirley.
"When a group of newspaper photog-
raphers in New York wanted to take her
picture," Jack Mulcahy told me, "Shirley
said, 'I bet you don't know the national
theme song of photographers.'
"'What is it?' they asked.
" 'I won't tell you now,' she said, 'but
you'll say it, and then I'll tell you.'
AFTER taking several pictures of Shir-
ley, the photographers said, 'One more
please, and then we'll be through.'
"Shirley grinned. 'That's the national
theme song,' she said. 'One more, please.'
Then she posed for another photograph.
"In New York, Shirley was impressed
by the Hudson Tubes and couldn't under-
stand how there could be water over them.
Like any tourist, she was thrilled by the
skyline and took a picture of it from her
window. Looking out at the Chrysler
Building, she said, amazed. 'But how can
it stand up ? Isn't there any danger of its
falling down? It looks like a pencil up-
side down.'
"Her first sight of a Broadway produc-
tion, 'I Married An Angel,' astonished her.
When the curtain rose, she said, 'This is
funny. There are no microphones.' In
Hollywood, there are microphones on every
motion picture set.
"When she saw the Statue of Liberty,
she said, 'I guess her arm is so big, be-
cause it has to hold that great light.'
"During her visit to New York, she was
taken to only one night club, the Interna-
tional Casino, where she saw the Ice Ballet,
the most elaborate spectacle she had ever
88
MODERN SCREEN
seen. The Temples went to an early show-
ing, and were out of the Casino by eight-
thirty. Although Shirley was on her vaca-
tion, nothing was allowed to interfere with
her regular bedtime hours, and she was
in bed by a quarter of nine every evening."
One day during Shirley's stay in New
York, I was invited to a small party given
her at the Waldorf Astoria Hotel. Nearly
always at parties for important stars, cock-
tails flow in profusion, but at Shirley's
party, tea, coffee and orangeade were the
only drinks served.
Throughout the course of the party, she
wandered from table to table, asking at
each table, "Is there anything I can get
for you ? Tea ? Some cake ? Ice cream ?"
No hostess could have been more charm-
ing.
There a famous editor tried to stop her.
"Will you sit down? I'd like to ask you
some questions," he said.
OH, I'm so sorry," said Shirley. "I
can't stop now. I'm too busy."
"What keeps you so busy you can't an-
swer questions?"
"I have to travel round all the tables,"
Shirley said, and resumed her tour as
hostess.
Because of Shirley's importance on the
screen and the constant adulation to which
she is subjected, many people have won-
dered if the real Shirley might not become
spoiled. That question was answered, once
and for all, during her trip across the con-
tinent.
"We in Hollywood knew and loved Shir-
ley ever since we first met her," Jack
Mulcahy told me, "so that it did not sur-
prise us when she revealed herself as the
dimpled, sweet, lovable little girl she really
is."
Two incidents that occurred during the
trip reveal the real Shirley. In Craig,
Colorado, when it was discovered that the
Temples were staying at a tourist camp,
almost the entire population of 1500 people
congregated to catch a glimpse of Shirley.
One man who ran a theatre in the town
was very much put out, for, after having
run a full page ad, he had expected a
large turn-out.
When he learned that all the towns-
people were hanging around the tourist
camp, he went there himself and bursting
in on Shirley and her parents, he said,
"You're wrecking my business. Do you
know that I've lost lots of money tonight
because of you?"
Shirley's smile disappeared. This was
indeed serious business and must be rec-
tified.
"I'm sorry," she said. "I don't like to
have you lose money because of me."
Then she whispered to her parents, and
they all got into a car and drove around
to the front of the theatre. The -towns-
people followed her, and the exhibitor at-
tracted a larger crowd than he ever had
before !
To me the most charming story of all
about Shirley concerns the night Walda
Winchell slept in the same room with her
at New York's Waldorf-Astoria, after the
two children had played together for sev-
eral days.
^ Shirley, very much disturbed when she
discovered that Walda was tossing around
in bed and hadn't fallen asleep, said solemn-
ly, "I know why you haven't gone to sleep.
Nobody tucked you in."
"Why, that doesn't make any difference,"
Walda said. "Nobody ever tucked me in."
At this Shirley was aghast, because Mrs.
Temple always tucks Shirley into bed.
"Why, that's terrible," she said. "I tell
you what, Walda. I'll tuck you in."
And getting out of her own bed, Shirley,
all smiles and dimples, walked over to
Walda's bed and gently tucked her in.
SHE thought it was jealousy of her suc-
cess in business that had made her
husband more and more indifferent. She
didn't realize that she herself had been at
fault ... in a matter of feminine hygiene.
"Lysol" would have helped save the hap-
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If you are in doubt regarding a whole-
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89
MODERN SCREEN
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SEVENTEEN VO-DO-DE-O-DOi
{Continued from page 46)
pictures lull sets him prowling. His mother,
Mrs. Fred Pankey, is driven frantic with,
"When'm I gonna start my next picture?"
"How_ should I know, Mickey? Ask
the studio."
"I don't wanna be a pest. You're my
mom. I gotta right to be a pest with you."
On the day he comes bounding in with a
Tarzan yell and his new script, peace re-
turns to the home. "Know what, Mom?
All the vacation I need is makin' pic-
tures."
At seventeen, he's still the typical Amer-
ican kid — snub nose, cocky grin, bantam
swagger, hair like a tumbled hayrick.
Aside from his special interest in the
movies, all life is divided into five parts-
sports, cars, swing music, clothes and girls.
He's never been afflicted with the melan-
cholies of adolescence. His spirits are al-
ways in high. He's a natural comic, and
clowns on the set up to the moment of
going into action. Where work is con-
cerned, he's strictly business.
ABOUT to make his first scene for "Love
Finds Andy Hardy," he came sliding
out of the dressing-room and tap danced into
position. Sylvester, his valet, held a mir-
ror while Mickey dragged a comb through
his hair. The results were negligible.
Grabbing a hammer and nails from a pass-
ing carpenter, he went through the mo-
tions of tacking his tufts down, then tugged
at his scalp fore and aft, as one who set-
tles a toupee. "Ready," called the di-
rector, and Aiickey dropped foolery, slid
to the side of Fay Holden, who plays Mrs.
Hardy, kissed her and slid back to his
place. This is the rite, without which he
will begin no Hardy picture. He calls it
his "good luck charm."
Sylvester is a recent acquisition, and
Mickey makes it plain that the idea was
none of his. Not that he has anything
against Sylvester. On the contrary. "Only
it looks like I'm tryin' to be a big shot,
having a boy work for me at my age."
Nevertheless, he brought Sylvester on
himself. At home a fellow's mother, as
most mothers know, picks up after him.
Mrs. Pankey extended the service to the
studio, till Mickey was sixteen. Then she
bought him a Ford and sent him out on
his own. Which was all very tine, except
that neckties flung into corners failed to
re-hang themselves on the rack, and shoes,
Mickey swore, walked off by themselves.
The studio decreed that something would
have to be done about it. Sylvester was
the result.
Mickey did his own hiring, which took
him not much longer than it takes in the
telling. "I asked the bootblack if he knew
a boy, an' next day Sylvester came around
an' I told him his requirements, like takin'
care of my wardrobe an' maybe runnin'
out for a sandwich if I get a little hungry
in the afternoon, an' we discussed money,
an' I said, all right, it's a deal."
He still goes to the schoolhouse on the
lot, and will until he's eighteen. He
doesn't dislike school, just doesn't see any
sense in it, "not at the age I am." He
hasn't, however, cast all childish things
aside. He refuses to get up in the morn-
ing till his mother has massaged his back
and scratched his head. She started the
practise when he was three, and he feels
it's coming to him.
"A big bruiser like you," she jeers.
"Sure, but I'm still your little sonny
boy," comes his voice, muffled against his
hands. "Now scratch the other side, and
I'll get up."
On his way to the shower he uncovers
Pete, the canary, takes him out of the
cage, rubs his topknot, exchanges a couple
of peeps with him and restores him to
his perch, with a parting admonition to
keep his shirt on. He carols under the
shower, often one of his own compositions,
for, among other ambitions, he nurses that
of becoming a song writer. He's found
a collaborator in his friend, Sidney Miller,
but thus far, no publisher. "So what?"
he philosophizes.
To call Mickey a hearty eater is under-
statement. He puts away an awe-inspiring
breakfast of melon, cream of wheat, bacon
and eggs, an occasional lamb chop, potatoes
always, and a quart of milk. His allow-
ance of thirty dollars is enough, but not
too much, since it must cover, besides trans-
portation and incidentals, his notion of six
adequate luncheons a week.
Mostly he stays within his budget, but
his _ impulses are generous and sometimes
a little fenagling is indicated to keep the
books balanced. He got leave from his
mother to spend a weekend at Catalina
with the boys. His first thoughtful act
was to phone her of his safe arrival. His
second, to reverse the charges.
"You didn't have to do that, Mickey,"
she reproached him later. "I'd have given
it back to you."
"Yeah, I know. But that way I figured
I was safe." He thrust a box at her.
"Might^ as well open it, Mom. Maybe you
won't like it." She drew forth a blazing
orange jacket. In an effort to conceal her
dismay, she stammered. "But how did you
know the size?"
"Got the littlest salesgirl to try it on,"
beamed Mickey.
Last Easter he appeared, clutching be-
hind _ a huge lily, adorned with two pink
bunnies. He was going out that evening.
"You're probably short, Mickey. I'll give
you back the money for that lily. The
sentiment's there, just the same."
"Aw, no — " he protested feebly.
"Come on, take the five dollars."
Mickey whirled indignantly. "Five dol-
lars ! That bloom cost ten !"
XJ E doesn't smoke nor drink, though he's
got to puff at a cigarette in "Boys
Town," and practises at home, looking
sheepish. "Mom, d'ya hate to see me
smoke?"
"Not if you want to, Mick. Only you're
so set on swimming and exercise. All it
does for you, is cut your wind." At which
Mickey will drop the cigarette like a viper,
and fly to the window for ten minutes'
deep breathing.
He plays the piano by ear, and the drums
by preference. "Just a music lover." he
explains. "Just a noise-lover," amends his
mother. On entering the house, he makes
straight for the radio, turns it on full
blast, grabs the phone in one hand, bangs
on the piano with the other and lapses
into a state of pure content.
He's proud of the fact that he's played
the drums with every famous swingband
that's come to Los Angeles. "Like other
people collect autographs, I collect drums.
Say, put 'em all down, will ya — Benny
Goodman, Jan Garber, Fredd}^ Martin, Hal
Kemp, Skinny Ennis — it's not many people
can say they've played with all those bands,
can they?"
His taste in clothes is akin to his taste
in music — the louder, the better. Shoes are
his hobby, toilet water his passion, and
sports clothes a minor career. "A small
{Continued on page 92)
90
MODERN SCREEN
SHE'S A SMARTIE
(Continued from page 35)
the screen. No, here is vitality, capabihty,
strength. Here is no clinging vine. Here
is comradeliness, here is a slap on the back,
a deep laugh and a hearty voice that makes
itself heard across a room. And I like these
traits. There is nothing helpless about
Sonja Henie. On the screen she may be
a bisque doll, but oif, she is pretzels and
beer. .
I could not help calling to mmd the
prophesy of an editor I know, a man who
is usually very wise. He had said, "Some
day someone is going to carry that little
girl away and marry her for her money."
Not Sonja Henie. Men may try but
she will be too smart for them. She is
not squandering her money. She knows
how to drive a bargain. She is very much
aware. And I don't think she has many
boy friends. I think men are scared of
her. There is something so forceful about
Miss Henie.
The suite alone told a story. It was an
exceptionally modest one, one living room,
one bedroom to be shared with mama. At
that, she considered the living room an
extravagence.
"I wanted two bedrooms."
Her habit of quick appraisal, her knowl-
edge of values, came to the fore when she
met her chum.
"I like your dress. Where did you get
it?" she said, all in one breath, and then
fingered the silk print as if she were about
to guess the price.
Again I saw it when the chum showed
her a new diamond wrist watch. With the
practiced eye of a connoisseur, Sonja held
the bracelet to the light and scrutinized
the diamond as if she were a pawn broker.
In one corner stood some newly delivered
boxes of shoes. Their labels were that of
New York's cheapest cut rate shoe store.
"Mama bought them," said Sonja.
NO, this year's take may have netted the
Henies over a million dollars, but
they're not throwing any of it away.
She sat at the dressing table and, true to
her promise, autographed pictures for those
waiting fans. Between autographs she
turned on a smile for the photographers.
But in the middle of one of these
pictures she spied an executive who
had just made his entrance. Immediately
the smile vanished. She rose, a calculating
business woman, looking out for her own
interests. She walked towards him and pro-
ceeded to unburden her mind. It was all
about a photograph which had been pub-
lished in an ad. It had been printed with-
out her permission. She didn't like the
pose and she didn't like the ad and she
didn't do those things for nothing and they
should please put a stop to it at once. I
am sure they did.
When this was over she went right back
to the smile and accepted a bundle of Nor-
wegian newspapers from a foreign corre-
spondent.
Again we were in the bedroom. "Tell
me, who is on the boat?" she asked.
"Grace Moore."
"I meant men," said Miss Henie.
All the while I marveled at her energy.
Only the Saturday before she had been out
in Hollywood finishing "My Lucky Star,"
at two in the afternoon. She had gone
home and they had called her for re-takes.
She had worked then until midnight. The
following day she flew to New York. It
had been a bad trip.
"Very bumpy," said her mother.
She arrived in New York Monday night,
(Continued on page 93)
Andrea Leeds
(Charming Hollywood Star)
•Andrea Leeds' hands thrill Joel McCrea in Universal hit "Youth lakes a Fling"
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91
MODERN SCREEN
ISTMATACTRm
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{Continued from page 90)
man should go in for sports clothes," says
Mickey, and he has the unabashed courage
of his convictions. He'll wear a green
hat with a yellow feather, and a brown
coat with a red necktie. "Mickey," sighs
his mother, "I wish you'd try to blend
your colors."
"Listen, you know what I'm considered?
A fashionplate."
For a formal dance he donned a pair
of iridescent green trousers and a hound's
tooth coat. His mother protested in vain,
and waited in some trepidation that night
for the whistle with which he signals his
approach, as he slips his key into the lock.
Mickey's cheerfulness was undimmed.
"Know what. Mom? They were all
wishing they'd come like I did. Their old
tuck shirts were melting to their spines."
MICKEY'S mother feels that he reached
the climax of sartorial originality
the night he joined Otto Klemperer's or-
chestra on the platform of a Los Angeles
concert hall. A brilliant audience had
gathered to hear Klemperer conduct "Mid-
summer Night's Dream." Mickey was to
give Puck's prologue. She looked down
at him from her box. The black-and-
white of his evening clothes left nothing
to be desired. Only a couple of wisps
stuck at right angles from the sleek
casque of his head. Suddenly a flash of
color blinded her. Mickey had crossed his
legs. Between black cloth and bla.ck
leather stretched a brief but dizzying rain-
bow of candy-striped sock, red and green
and yellow and red and green. She man-
aged to catch his eye and signalled as
frantically as stealth would permit. Mickey
sent her a reassuring grin, uncrossed his
legs — and crossed them the other way !
They're living in a Hollywood apart-
ment at the moment, but they're going to
build in the fall. The house is to be a
gift from Mickey to his mother, "for her
niceness to me." Since he plans to live
there too, he's given notice as to what he
wants — "a rambling ranch house with a
pool and a tennis court and a rumpus room
and my bedroom in knotty pine with six
bunks so the fellas can stay over night."
Mrs. Pankey was doubtful. "All I
want's a little cottage, Mickey. Mother's
not going to have you all her life. You
might want to take bachelor apartments
when you're twenty-one. Then you'll
marry — "
"Listen, Mom. When I'm gonna marry
is a long way off. Anyhow, if the girl
doesn't like you an' wouldn't want to live
with you — " a gesture blotted her out.
Mickey doesn't remember his first date.
"Do you?" he wanted to know. "Well,
naturally, with a girl it's different. "10 a
boy, maybe, it doesn't mean so much."
He's taken plenty of ribbing on the
subject of Judy Garland, which he^^ shrugs
off with resignation as "kid stuff." "All
that talk about Judy and I— that's a laugh.
We're the best of friends, and always will
be. Everv once in a while we go out on
a date together. She's a perfect girl, and
the fella that goes around with her is
lucky. But Judy and me, we just don't
care for each other that way."
He likes brunettes with blue eyes. "June
Lang's the kind of girl I could go for— if
she was about three years younger, maybe
four. Sure, I know she's a blonde, but
what a blonde! Pardon me if I'm a little
flighty, but foolin' aside, I'm not serious
about any girl. Sure I like 'em, an' I
like to take 'em out, an' I like 'em pretty,
an' I Hke 'em good dressers. But in my
position you gotta be careful. Lots of
girls think that because you play certain
parts in a picture, you're kind of a ruthless
fella. That's the bunk. The girls I go
round with are college or late high school
girls. We might take in a show or maybe
go bowlin' or drop up at my place an'
listen to records. An' every Friday night
we go to the Cocoanut Grove, me an' my
pal Tobias, an' a couple of girls. Me an'
Tobias, we're always the same, but the
girls are always liable to be different."
Tobias, the friend of his bosom, is
nineteen and Mickey's inclined to trust his
judgment in girls, as in everything else.
Not blindly, forever. "I swung a deal
for you, Mick," he'll come in and announce.
"Sa-a-a-y! I'm not goin' out with any
blind date. How do I know how tall she
is?"
"Well, she's just about the size of
your mother."
"Mom, take off your high heels, will
you?"
Mrs. Pankey is then led through the
measures of a dance, escorted to a table,
helped into a car, with Mickey grimacing
down at her from the vantage of his three
superior inches. After which he dusts his
hands briskly. "Okay, Tobe, it's a deal."
Recently she overheard one end of a phone
conversation between her son and a girl
who rang him up. Mickey's voice was
unheated but firm. "Well, frankly, I didn't
care for your attitude last time I called
you. I mean, you hung up in my ear, that's
what I mean. Sure, a girl can have a
headache, an' a guy can have measles an'
mumps an' chickenpox, but that don't give
him any call to hurt a girl's feelings, like
you hurt mine. Yeah, I'm sorry too, but
there's nothin' we can do about it, an' I'll
tell you why. When you hung up, you
did something to me — I'm not the same
Mickey I used to be — "
Occasionally he'll come home dreamy-
eyed and plank himself down at the foot of
his mother's bed. "Gee, Mom, I had a
swell time. We didn't do anything much,
went to a show, then I took her home and
her mother made us sandwiches. You
know. Mom — maybe I'll marry that girl
some day."
"That's up to you and her, son. She's
a sweet .girl."
"Yeah." But the romantic mood can't
hold Mickey for long. He jumps up.
"Well, g'night. Mom. Guess I'll sleep
over it."
Meantime, the world's his oyster. Tobe's
joined him on location for "Boys Town,"
to be his temporary Sylvester. His moth-
er's going to buy him a new car. Some
day, later on, he plans to be a director —
"but not until real later." Now all he
wants is to keep on acting. School won't
last much longer. But swing bands and
girls and green iridescent pants go on
forever. Vo-do-de-o-do !
Bobby Jordan and Judy Gar-
land help Mickey celebrate
his seventeenth.
92
(Continued from page 91)
never feeling the change of climate nor the
loss of hours. She was out of her apart-
ment by nine the next morning, running her
manager ragged trying to find a projection
room where she could see some rushes she
had brought with her, transacting tedious
business with the income tax bureau, sit-
ting for hours at the haidresser's, visiting
the shops and arriving home at seven that
evening. Immediately she was out again.
This time to do the town, not with a boy
friend (evidently there was none in New
York), but with one of her managers and
his wife. She arrived home at three a.m.
NOW, here it was the next morning and
she was on the ship, her only regret
being that she didn't have time to buy hats.
And she seemed surprised that she felt a
little tired.
So she ate some candy, butterscotch for
energy. And she talked to her chum.
"I got telegrams," she said, "from Bob
and Harry."
Then she thanked her friend for a birth-
day gift. "A diamond and gold powder
box," she explained to me. "It was beauti-
ful. -I showed it to everyone at the studio.
But I didn't tell them who gave it. They
thought It was a man. And they wrote
about it in the columns."
Smart little Sonja, already wise in the
ways of American publicity.
And she turned to the man who de-
livered the fur coat. It was an ermine
wrap. She inspected it minutely. "Just
an old one," she said. "I had it fixed."
She talked about "My Lucky Star."
"It has an 'Alice In Wonderland' se-
quence. I wish it could have been done
in color, the costumes were so beautiful.
I hope my next picture will be in color.
They are talking about it."
She was thrilled because she will arrive
in Norway in time for the opening of
"Happy Landing."
"I am just going to rest," she said. "I
did not bring with me one pair of skates.
I am going to sleep and sleep and get
up in time for lunch, and if I sleep longer,
get up for dinner."
She talked about skating in Florida.
It had been difficult in a tropical climate.
"But when you have to, you do it."
This I think is her creed. She certainly
is the best disciplined woman I ever met.
The ship's whistle blew a warning. She
stared at her manager, her chum and me.
She dimpled and said, "Come on, all of
you, stay aboard."
I hesitated.
She said, "You don't think I mean it.
Of course I mean it, but I know there is
no more room ... not a cabin." She
laughed at her little joke.
A man poked his head in the door, in-
viting her to broadcast. She paid no at-
tention.
"Grace Moore did it," he said. Still
she paid no attention.
_ Then he said Darryl Zanuck had done
It, and she flew. After all, what's good
enough for the boss . . .
She was out of the door and down the
narrow corridor, the man leading her by
the hand, I following, and the fans, now
multiplied by dozens, crowding down upon
her from all sides, closing in . . . shriek-
ing, "There she is!"
Anyone else would have turned back;
anyone else would have lost all presence
of mind. But not Sonja Henie. She quickly
spied news reporters and more executives
She thought of another Hollywood star
due in New York and she remembered
her alma mater. So she smiled that smile
for playing to the gallery is her forte!
and she called back, so everyone could
hear, Goodbye, and give my love to Shir-
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HE'S NEVER OUT OF CHARACTER
[Continued from page 31)
watching him, trying to understand what
it is he does, trying to learn from him. He
doesn't do anything that I can see. He
doesn't do anything that anyone can copy.
It's just in the man himself."
In Myron Brinig's new novel, "May
Flavin," there is the following passage: "So
it is with all great men and women, they
not only live their own lives but an inner
life into which many other figures are
crowded, men and women of their own
blood, strangers who have passed them
by ... "
When I read that passage aloud to
Mickey Rooney the boy's Irish eyes were
quick with tears and he said, conclusively,
"Yeah, that's him !"
I thought about these things as Spencer
told me about Father Flanagan and the
boys he shepherds to young manhood there
in his Boys Town. Spencer didn't speak of
the picture except when directly questioned,
nor about playing the part of Father Flana-
gan. He talked about the real Boys Town
which started over twenty years ago and
will be going on long after the studio has
ceased turning its cameras on the authentic
story of this great humanitarian project.
AND just because he was not speaking in
terms of the picture seemed to me ad-
ditional proof that Spencer's screen great-
ness lies in the fact that he doesn't play a
character with greasepaint and a costume
and lines put into his mouth, but with the
heart of a man crowded with the problems
and plans of the character he is portraying.
He is the man, that's all. He isn't making
believe. The quality of each character he
plays is a quality in him. He was the
victim of mob cruelty in "Fury" because
he feels that bestial cruelty in his blood.
He was Manuel in "Captains Courageous"
because that quality of grufif, rough tender-
ness is in him, too. He was the appealing
mechanic in "Test Pilot" because there is
in him that profound capacity for friend-
ship which he expressed in the role. He is
Father Flanagan in Boys Town because
those homeless, orphaned kids are living.
"Father Flanagan started Boys Town
twenty years ago," Spencer was saying.
"He started in his own house with five
boys. Before that he was a welfare worker
and fooled around with old guys. He real-
ized that you can't put the cart before the
horse nor the man before the boy and
get anywhere. You can't 'reform' adults.
But you can mould the growing boy. It's
Father Flanagan's conviction and motto
that 'There is no such thing as a bad boy'.
And so be began.
"Now the place is a regular little town.
400 acres, all , told. The place is run en-
tirely by donations — donations of money,
food, clothes. Father Flanagan figures that
it takes one hundred and eighty dollars to
keep a boy there for one year. One hun-
dred and eighty dollars," said Spencer
slowly, "and one kid gets one year of
education, food, lodging, clothes and secur-
ity. A chance to grow straight instead of
crooked. One hundred and eighty dol-
lars . . ." and I knew that Spencer was
thinking again, of the wealthy children
with their toys costing thousands of dol-
lars, with their guards to protect them
from such men as the Boys Town boys
might have grown to be if it were not for
Father Flanagan.
"The first and only 'entrance requirement'
to Boys Town," Spencer went on, "is that
the boy have no semblance of a home. Nor
any living relative, no matter how distant.
who could give him a hand-out. Father
Flanagan prefers to take boys under
twelve years ago, too. But he some-
times takes them older than that because
they can't stay in orphanages after the
age of twelve. I didn't know that before,
did you?"
I said that I didn't. "There's a lot of
things we don't know," said Spencer, "we
smart mugs who are in the picture business.
"There are no prejudices of any kind
in Boys Town, either. There are no lines
drawn, neither color nor religious denom-
ination nor any other. There's a boy out
of an insane asylum. He's not insane now.
He hasn't got Fear for a bedfellow these
nights. There's a kid so bowed down with
some_ horror in his life that he walks all
the time with his head bowed down to his
feet. One day I happened to see the Father
pass this kid. He put his hand under the
boy's chin, turned his face up to the sky
and said :
" 'You have a beautiful face, my son,
don't be afraid to show it.'
"I'm saying that line in the picture," said
Spencer. "I asked them to write it into
the script. It's the kind of thing everyone
should hear — and think about. Makes you
feel kind of useless sometimes when you
think about the kind of work a man like
Father Flanagan is doing . . . but when I
get a chance to play a part like this of
Father Flanagan, a chance to say words
like that and mean them, I have the feeling
that I'm doing something worthwhile, too.
"The only question that Father Flanagan
asks is, 'Are you homeless?' " said Spencer.
"'Are you homeless?' — kind of a beautiful
question, at that. Imagine how it would be
if that's all any of us ever asked a fellow
being . . . 'are you homeless?' . . . and if
the answer were 'yes' that would make him
eligible to share and share alike with us.
Kind of far-fetched, isn't it? Sure it is.
Sure, I know.
FATHER FLANAGAN d9esn't believe
in heredity. He believes in the child.
And so there are all kinds in Boys Town.
There are two little hillbillies from Ken-
tucky there. They never saw a pair of
shoes nor heard of a motion picture nor
listened to a gentle word spoken until they
came to Boys Town. There are two kids
there who murdered their own fathers. One
kid's father had the habit of getting drunk
and beating the living daylights out of the
mother. The kid, not more than ten years
old, had often threatened to 'get' the father.
The old man, always laughed at him. But
one night the kid let him have it, and
shot him dead.
"Another youngster, not more than eight
or nine, had taken a violent dislike to his
school teacher. So he'd burned the school-
house to the ground. One kid had been
deserted by his father. His mother was a
street-walker. The boy used to get letters
from her every now and again. He was
proud of them. He was about the only fel-
low to get any mail.
"One day one of the boys wanted to go
fishing with me. I said, 'I won't get you
into trouble, will I, if I take you along?'
He looked up at me and I'll be a long time
remembering the look in his eyes when he
said, 'What trouble do you think you could
get me in that I haven't been in?' Sure,
I'll remember that.
"The kids get schooling through high
school. They are each taught a trade. They
have self-government, the honor system.
Honor is like a word in a foreign tongue
to most of them before they came to Boys
94
MODERN SCREEN
Town. One of the boys is the Mayor of
Boys Town. The boys elect their own Coun-
cil from among themselves. They mete
out their own punishments. They have
their own police force. They grow their
own food, do their own farming and milk-
ing. There are no fences around the place.
They can run away if they want to. They
are told that they can. They never do.
Makes you wonder about the value of bars
of an}' kind, contracts, bonds, chains. Be-
cause you can't run away from yourself,"
said Spencer, "and, nine times out of ten,
when a man wants to run away it's himself
that he's trying to escape.
"When the boys are through high school
they're on their own. They have to clear
out and make room for others. And in all
the twenty years since Boys Town began
Father Flanagan has never had a jail sen-
tence passed on any one of his boys."
"Yeah," said Spence, "it's good for a
fellow to make a trip like that, see what
we saw there in Boys Town. We haven't
any right, we who are in Hollywood, to
give stories about 'hardships.'
"Yeah," repeated Spencer, "it makes you
ippreciate your rations."
Yeah, and now I have the answer to the
quality in Spencer which is the secret of his
greatness on the screen. Now I can name
it. It's caring. It's really caring about the
other fellow. When he played "Fury" that
hunted thing he played was in his heart.
When he played Manuel, the tenderness
was not acting only. It sprang from a nat-
ural source. When he played Gable's
friend in "Test Pilot" that capacity for
friendship was a living fact. In "Boys
Town" he is Father Flanagan, with the
boys of Boys Town walking through his
heart. And so it will be in all the char-
acters he gives us, because he lives, "not
only his own life, but an inner life into
which many figures are crowded."
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it might take him. He knew his presence
gave her pleasure. "But it's pure selfish-
ness on my part," he assured her. "I'll bet
I get more of a kick out of it than you."
On the other hand, once the theatrical
season was over, he'd take her to Paris.
They'd haunt the old bookshops, he'd show
her the paintings he loved. He opened her
eyes and mind to beauty she'd never known
existed, and found her an apt pupil. Far
from driving them apart, their contrasted
backgrounds drew them together and
added color and variety to both their lives.
If Korda had never made "Henry VIII,"
Biunie and Sam would never have parted.
Her role in the picture brought offers from
Hollywood. She bade her husband a happy
good-bye. He would join her soon and
they'd go back to England together. Mean-
time here were new worlds to conquer,
and she wouldn't have been Binnie if her
heart hadn't leaped at the prospect.
Sam did come over, but Binnie didn't go
back with him. If you're a movie actress,
if your work comes first, if Hollywood
wants you, Hollywood is where you stay.
For a while they closed their eyes to
the inevitable. Sam hopped over as often
as he could. Binnie dashed back. He
never asked her to give up her chosen
work. He understood her well enough
to realize that she wouldn't have been a
whole woman without it.
"We never quarreled," says Binnie, "we
never had so much as an argument. He's
the best and kindest person I've ever met
or I'm ever likely to meet. It sounds so
infernally silly to say you divorced him.
Things never turn out that way in the
story books. No matter how much the
girl loves her career, she always gives it
up for the man. Love conquers all, or if
love doesn't, the patter of little feet does.
"Well, my case proves one of two things
— that life doesn't go by formulas, or
that I'm a freak. Here was I, established
in a paying business, there was Sam in
the same spot. Perfect, except for one
thing — we were thousands of miles apart.
No one would have- dreamed of suggesting
he give up his work. 'What, that marvel-
ous business that's been in the family for
liundreds of years ! That business you love !
Give it up ? You'd be crazy !' And I agree.
It would have been crazy.
BUT for me to give up the business I
loved, that had been my life — lots of
people took that as matter of course. Well,
I didn't. Don't think it was easy. I went
through Hades and probably put Sam
through the same. But I kept coming
back to this : If I did give it up, I'd be
so miserable that I'd be bound to drag
Sam into misery with me. He couldn't
be happy with a restless, discontented wife.
"Primarily, it wasn't a question of
money. Now don't get me wrong. I'm
not one of those airy creatures who can
live on sunsets and a lettuce leaf. I think
the laborer's worthy of his hire. When
I say it wasn't money primarily, I mean
just that. My husband had plenty. He
was more than generous with it. What
was his, was mine. But since I was a
kid, I've stood on my own feet, been
obliged to no one, dependent on no one
but myself. That's the thing I couldn't
get along without.
"You may ask, why couldn't I get a job
in England? I could, but not as good a
job. It's as if you said to Sam, 'Why
can't you run your business in America?'
He could, but it would have been bad.
"If you've got any pride in what you've
built up, you want to build it as solid as
possible. Don't think for a minute it's
what they call the glamor of pictures that's
got me. I don't care a whoop for it. Pic-
tures happen to be my work, that's all.
If fate took a hand and washed me up in
pictures, there'd be nothing I could do
about that. But you can bet your last
nickel I'd find other work to do — also
that I'd try to find it in England.
"People say to me, 'Why did you and
Sam have to divorce? You didn't want
to marry another man, he didn't want to
marry another woman. Why couldn't you
stay married and take the chance that some
day you'd get together again?'
I COULD think up all sorts of pretty
answers to that one — that it wouldn't
have been fair to Sam, or that one ought
to be a hundred percent wife, or none at
all. Sounds pretty noble, only it isn't the
truth. I would have hung on to Sam for
dear life, but for one reason. Are you
sentimental ? Then prepare to be
shocked. Me, I'm a realist. My reason,
bald and unblushing, was the income tax.
"Sam's a resident of England. As his
wife, I'm a resident of England, no matter
where I live. That means I paid income
tax in two countries. Do you know what
the income tax in England is? Well, I
won't spoil your dinner by telling you.
And you see, Sam earned a lot of money
too, which brought the tax still higher for
both of us. So high, in fact, that I found
myself practically working for nothing. On
nothing it's hard to feel independent.
"So we divorced. I think a really mer-
cenary woman would have sat herself
in her husband's pocket, and said, 'Now
pay up, old boy, for all I've sacrificed in
order to be your dear and loving wife.'
I'm not out to pin any medals on myself,
but I did refuse to hang the burden of
my boredom around Sam's neck. I claim
a feather for that, here on the left shoul-
derblade — nothing so gaudy as a wing, you
understand — just one small pinfeather."
When Binnie makes one of her flying
trips to London, it's Sam who finds an
apartment for her. It's with Sam she
has dinner night after night, it's with Sam
that she goes out dancing. At least once
a year he turns up in Hollywood to see
her. Each continues to feel an active in-
terest in the other's work.
"And though he's no longer my hus-
band," says Binnie, "I still love him. He's
too good not to love. If I were in trouble,
it's Sam I'd turn to— yes, even if he mar-
ried again. I can't say I hope he doesn't
• — that would be unfair. But if he doesn't,
then maybe some day we'll end up to-
gether, when I'm through.
"You see, I've no illusions about my
place in the movies. I'm not the world's
best actress, by any means. I'll never be
a star and I don't want to be. But I'm
adaptable. That part in 'Three Blind
Mice,' for instance. We didn't know how
we'd play it until we started. She was
a nice dame, but nuts. Well, I suddenly
remembered some women I'd met in the
south of France. They live there so long,
they get cracked. So I copied them.
"Producers know they can rely on me.
'Pick Barnes up,' they'll say. 'Old Barnes'll
go through it all right.' I'm aware of that.
It used to bother me, but not any more.
What's the difference? People like me to
a certain extent, I'm happy, I'm grateful,
I get money for what I do. I should start
worrying whether I'm a star or not, as long
as I have enough to eat."
96
MODERN SCREEN
A MAN WHO CAME BACK
{Continued from page 41)
intriguing suggestion was made, is still
made, that they never have divorced be-
cause they are still in love. Some day,
whispers Hollywood drowsily, any day
perhaps, there may be a reconciliation.
I said to Lew, "If these whispers are
true, don't let me write a story about you,
omitting all mention of a possible recon-
ciliation between you and Ginger only to
have the newspapers headline the news."
"I wouldn't want that to happen, either,"
Lew told me. " 'Reconciliation,' by the
way, is, essentially, the wrong word to
use about Ginger and me. We are really
good friends. We see one another now
and then. We talk on the phone occa-
sionally. But, currently, we have no plan
for resuming our marriage. If there were
any such plan, I would certainly tell you
about it. I have no reason to be secretive
about anything concerning either Ginger or
me."
So anyway, there it was. There would
be these little geysers of talk about Lew,
interest in Lew, speculations, now and
then, as to why so brilliant a career had,
seemingly, petered out so vaguely. And
that was all — until "Holiday." And then,
Hollywood gave itself Ayres again. Then
the come-back of Lew Ayres made tap-
room_ talk at the Trocadero, at the Brown
Derbies, at all the meeting places of pro-
ducers, agents, directors, critics, where
careers (and reputations) are both glam-
orized and guillotined. More importantly,
the studios became Ayres-minded again.
Then one of them signed him to a contract.
Now he is making "White Collars."
Yes, interest in Lew has taken a power-
ful shot in the arm. People are asking
questions about him.
Was his pride hurt? Was his self-
confidence shattered?" Has he been bitter?
What caused his slip in the first place?
I asked my ciuestions of Lew himself.
I had lunch with him in the studio com-
missary. There was Lew, in make-up,
fresh off the "White Collars" set. Lew
once again among the Gables, Mont-
gomerys, Tracys, who were lunching at
tables around us. Lew, I thought, come
into his own again.
I said, "Tell me the story of a come-
back. I know it will be exciting."
"I'm sorry, I haven't suffered," smiled
Lew. "I know what good copy mental
agonies can make. But the flat truth is,
I'm glad I went down in those B, C and
even D pictures. Because the backsliding
has made the kick of coming back all the
more intense. I can appreciate being in
a big studio now, not having to be on
the set until nine in the mornings, not
being pushed around quite so much or so
fast. I can appreciate it more than I
could ever have done had I maintained
the level on which I started.
"You know, it's something like never ap-
preciating happiness until you have been
unhappy; never knowing the blessedness
of relief from pain until you have been
in pain; never knowing how to celebrate
peace until you have been at war.
"Not, I am sorry to tell you, that I have
experienced anything so dramatic as un-
happiness because I slipped from my high
estate. I haven't worried. I haven't en-
vied. I haven't been bitter. I have worked
out of any bewilderment I may have felt
at first. In fact, I was much more be-
wildered when I sat on top of the hay-
stack than I was when I began to slide
down. I have never even been distressed.
The only thing I've missed is that feeling
of wanting to go to bed early so that I
would be on tip toe in the morning for
the day's work. Otherwise, there are too
many things in life to do, to appreciate,
for me to feel downed by failure in any
one field.
"So many things interest me," said Lew,
"that I'm afraid I could never be a fanatic.
To be a fanatic you have to be absorbed
by one idea, one passion, one ideal. My
interests are so many, so diverse, that
pictures couldn't be my whole life. I'm
afraid, too, that I have a funny bone. And
I'm afraid that to be successful you can't
have a sense of humor, especially where
you yourself are concerned.
"So, the 'many things' have saved me
from bemoaning the — shall we say eclipse
of the one thing. There are so many
things I want to do, could do, or try to do,
if I never made another picture. And
if I should never make another picture
I'm still lucky for all I've done. I know
that. Even before I played in 'Holiday'
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"Nothing to Say," so Fred MacMurray
says it in December MODERN SCREEN
MODERN SCREEN
I was grateful for all I'd been able to
do. I knew then that Hollywood owed
me nothing."
Lew, I'd say, is of the breed, of young
men who would watch an operation being
performed on himself rather than take an
anesthetic. Because his curiosity would
be greater than his sense of fear. Sim-
ilarly, he has watched his career being op-
erated upon, rallying, sinking, rallying
again, with the same clinical interest he
would displa)' in a surgical amphitheatre.
He said then, "My case history goes
something like this : I was too young when
I started in pictures. Nineteen years old
and a banjo player. That was ten years
ago. I was too raw, too inexperienced. I
knew no one in Hollywood, not even an
extra. I just acted in the pictures they
told me to act in. Just acting isn't enough.
You've got to know what to fight for. I
didn't know what to fight for.
"I came to Hollywood as raw a re-
cruit as ever stepped foot in a studio. I
was playing and singing at the Cocoanut
Grove with Ray West's orchestra. Ivan
Kahn saw me there and offered me my
first chance.
I PLAYED bits in two pictures then.
People said nice things about me. My
third picture was 'All Quiet On The
Western Front.' After that came 'Door-
way To Heir and 'Common Clay.' All
three were big hits. I was all ready for
the knife then. But I didn't know it.
"So there I was, sitting on top without
having had to climb there. It can't be
done. Read the biographies of men like
Muni, Tracy, Gable and you'll realize that,
at one time or another, they've done some
powerful climbing. I had to do my climb-
ing a little later, that's all. And it's all
right. It's been good for me. For if you
put a child of seven in high school be-
fore he's been to kindergarten the chances
are that he'll be demoted to the first grade
once they catch on to him.
"I was too successful at the start for
the continued good health of my career.
Then I didn't fight. There didn't seem
to be anything to fight for. I didn't try
to improve myself as an actor because, I
thought, why should I? I realized that
there was plenty of room for improvement
but they seemed to like me as I was, so
maybe I'd better stay as I was. I did.
"Then I made a series of bad pictures.
The skids were under me and I knew it.
Then my looks were against me because
I was, unfortunately for me, a leading-
man type — young, regular features and all
that. I wanted to play character parts.
I did not want to pose in profile among
romance and roses.
"And so the see-saw began. I'd go
down, then I'd come up again, and then
in reverse. Little by little the ups became
less up and the downs would be more
downs and stay down longer. It was like
a pendulum swinging, slower and slower
and ever more slowly.
"I was twice married and twice unsvic-
cessfully. I am completely unembittered
by these experiences. I am not one of
those who believe that Hollywood mar-
riages cannot last, that, because a wife is
a star and independent, the marriage is
foredoomed to failure. On the contrary,
I think it's a very fine thing for both hus-
band and wife to be totally independent.
"I've bought a small house atop the
highest hill in Hollywood. And I live
there, alone. And like it. It's a very
selfish way of living, I know. And I don't
say that I want to live this way for the
rest of my life. But right now I am, and
for some time have been, well content to
be alone.
"I've never been discouraged about any-
thing," Lew continued. "Inclined to be
moody, I've had my ups and downs, of
course, good days and days not so good.
But at least I've had enough perspective
on myself to realize that I have the same
good days and bad days whatever I'm
doing at the time.
"Things were going along in this fashion
when I ran into George Cukor in the lobby
of the Biltmore Theatre in Los Angeles
one night. Cukor was the dialogue director
on 'All Quiet.' I hadn't seen him for
years. We exchanged greetings. He said
to me, laughing, 'I thought you'd be an
old, gray-headed man by this time !' That
was all. A week later he called me on
the telephone, said he wanted to talk to
me about the part in 'Holiday.'
"We talked. I made the test. That wasn't
enough for Cukor. He talked to me about
the part again. He made me read it to
him, not once but many times. He then
made me take lessons in diction.
"It was a thrill. Of course it was. I
realized fully that here was an opportunity
that was, literally, battering down my door.
But, although I knew it was my big chance,
I wasn't nervous about it. I'd been work-
ing very hard and perhaps I was too tired
to feel nervous. Perhaps that was just
as well, too, for the young man I played
was also tired, all the way through. Then
came the work, the hard work, but enor-
mously stimulating because it was something
that mattered. And then the preview, the
reviewSj and the word passed that I had
'come back.' And so, here I am.
"I don't believe," Lew said slowly, "that
it's luck, the 'breaks' when good things
happen to us. I don't believe that life is
that shallow. I'd hate to think that life
hinges on luck alone. It's a defeatist sort
of philosophy to believe that everything
depends on a throw of the dice.
"It might be called luck, my happening
to be in the lobby of the Biltmore the same
night that Cukor was there. But luck
alone wouldn't have done it. If Cukor hadn't
had some residue of faith in me he would
have said, 'Hullo and goodbye.' And I — I
would have stayed back.
"I have faith, you know, in a sort of
divine justification. I think that we get
things when we are ready for them.
"But that meeting with Cukor was not
the first step in my 'come-back,' " smiled
Lew. "It was the last. The first step was
taken when I took the first step down."
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MODERN SCREEN
GINGER'S MAMA SPEAKS HER PIECE
{Continued from page 33)
These were to be played the day after Lela
left. On the train, Lela, whose humor is
a great deal like her daughter's, wired,
"If you don't win its bread and water for
a week." The following morning she re-
ceived, "It's bread and water, get it."
The minute Ginger heard about her six-
week vacation, the first she's had in years,
she called Lela in New York with, "I don't
know where we'll go, but when the time
comes get ready to fly to me !"
And, as a surprise, she shipped Lela's
car, equipped with four new tires, to New
York. Of course this is nothing new.
With her first big pay check (it was a
thousand dollars) Ginger took the whole
thing and with it bought a brooch for her
mother. And she designed that brooch.
Lela, too, is no slouch at surprises. It
was she who gave Ginger the now famous
soda fountain.
"I never dreamed how popular it would
become. It's a boon for servants because
all the guests insists upon making their
own. Ginger doesn't drink, you know.
She lives on malted milks and sodas. I
gave her the fountain as a mark of luxury,
as a way of saying, "You have arrived!"
Well, a mother-daughter friendship like
thai, with its attendant sense of humor,
doesn't break.
As for the normal life . . .
"If any star's life is normal, it's Gin-
ger's. And it's much easier to live nor-
mally in Hollywood than here in the East.
Why, it took us two years to build our
house. Twenty-five towns lie under our
noses, we're ten minutes from the studio,
and yet, we're so surrounded by hills that
we're isolated. I didn't wear a pair of
stockings all summer, or a summer dress ;
just lived in my bathing suit. Ginger goes
to work in slacks. When I say work I
mean work. You've got to be a trouper
to get on top or stay on top.
"I wish you could see all her clothes
hanging in the closet because she has no
time to wear them. The night I left for
the East we figured she had been out for
dinner exactly twice in six months ! She
did manage to get to her own preview, but
that, in its way, is work. But she was
broken hearted because she couldn't get to
Maggie's — Margaret SuUavan's, you know.
Ginger is crazy about her. The night of
that preview the studio kept Ginger until
seven-thirty, and by the time she came'
home and had dinner, it was, as she said,
'As usual, too late.'
"Every Sunday we serve a buffet supper
in our basement playroom and Ginger's
gang comes — Maggie and Leland, Doro-
thy Fields, Bob Riskin, Phyllis Frazier,
Jimmy Stewart.
"Ginger is the one who started all
those quiz games that became such a
fad. Every free night Bob Riskin would
head one team, Dorothy Fields the other.
And they would come armed with diction-
aries and encyclopedias, literally playing
for blood. It's great mental exercise, and
Ginger loves it."
Of all Ginger's boy friends Lela seems
to favor writer Robert Riskin. "He's the
sweetest boy. Of course Ginger goes out
a lot with Jimmy Stewart these days, but,"
Lela added significantly, "Jimmy manages
to distribute himself among all the girls.
He's very popular, you know."
She paused. Then, "Ginger has changed
a great deal. Her faults have always been
for blood. It's great mental exercise, and
the chief fault of all the Rogers women,
that of being too frank for their own good.
Men don't like honest women. They're
scared of them. It's always a straight
'Yes' or 'No' with Ginger, no side-stepping.
She likes you or she doesn't. She's in-
herently honest, and that doesn't make for
happiness. But if you're made that way
there's nothing you can do about it. I
know.
"Certainly, she has grown more serious.
And her tastes have changed, especially in
clothes. Her dresses used to be much too
fancy. Now she is going in for the simple
kind. She had to learn that by herself.
Good taste grows as we grow.
"And," Lela Rogers hesitated, "this
sounds unkind to the past, but, naturally.
Ginger's taste in men has also changed.
Nobody can bank on the idiosyncracies of
love, but I have a hunch that the next im-
portant man in Ginger's life will be older
and serious thinking, not just a boy. Here-
tofore, she's always had a youth complex,
but now maturity has set in."
Her voice softened. "As Ginger's
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mother, I think I know what she wants.
It may sound trite to say, but I know from
the occasional remarks she lets fall, and
the questions she asks, and the way she
acts that the only thing Ginger wants out
of life is what every girl wants if she is
thoroughly honest with herself — a home
and babies. Ginger is twenty-seven now.
I think in three years she will have
her heart's desire. Why, everything ^ she
does points that way. All her spare time,
those few rare minutes, goes to Brooke
Heyward, Maggie's child. Ginger was so
proud because Brooke paid her first call on
us. Ginger took up knitting so she could
make Brooke a sweater. And every once in
awhile Ginger asks about babies, funny
little details, and whether I think she is
too old to have one." Mrs. Rogers
laughed. "Ginger, at twenty-seven, wor-
rying about her age. But you can see
what she is thinking about — in what direc-
tion her mind lies.
"Not that I think she could actually
quit working for any great length of time.
Ginger would never be happy idle."
She paused as a trim maid passed us
iced coffee and little cakes. And I had
time to sit back and study this Lela_ Rogers,
whose face is stamped with living and
work, and yet, who looks so much like
Ginger, the expression around her mouth,
th.e shape of her legs, a turn here and there.
The sitting room makes a perfect back-
ground, with its white mantelpiece, its
Venetian blinds, the vases alive with
flowers, the chintz covered furniture.
On the mantel stood a picture of J.
Edgar Hoover with the inscription "To
Lela E. Rogers, in appreciation of a valued
friendship." And on a table the only
photograph of Ginger . . . Ginger wearing
a plain sports frock, Ginger, her arms
folded and looking straight at you with
that frank, likeable stare of hers.
Lela Rogers looked at the picture
too. "It's not easy," she said, "for a
mother to talk about her daughter's faults.
Every duck thinks her chick is white, but
to me. Ginger's worst fault is the fact that
when something bothers her she keeps it
within herself. And it eats inside. I can
always tell. Then I say, 'Out with it!'
ONCE I said this and she began, 'Pan
(meaning producer Pandro Berman)
said three months ago ..."
'■'Three months ago!'" I shouted. "And
you've been worrying about this all that
time ! Go to him and have it out ! When
she used to be afraid to do that, I often
started the battles for her.
"In that instance Pan had promised Gin-
ger she didn't have to work with a certain
person, and there he was, cast just the
same. Please don't misunderstand, the
person was not Astaire."
And then Lela Rogers made a startling
and generous announcement. "I consider
the success of their pictures due to Fred
Astaire. He is tireless, painstaking, a
glutton for perfection. And he fights for
what he wants. So he fought for Ginger
too. He was the first person to insist upon
having a dance photographed all the way
through. The producer said it would lose
camera interest. They wanted to shoot
away to a man chewing gum, a woman
powdering her nose. Astaire said, 'If you
don't do it my way, you don't get the
dance !' So they gave in. And you know
the result. He must have things right, or
not at all. Because Ginger was his partner
and believed as he believed, he fought for
her rights, too. By herself, she never
would have fought.
"For, believe it or not. Ginger has a
great inferiority complex. She thinks
everybody is better than she is. Do you
know she was scared to death to tackle a
dramatic part? And now, I believe that's
the only kind she should go in for. Why,
she was frightened stiff to act with Hep-
burn ! Ginger is a square shooter. Give
the other fellow a scene, and she practi-
cally turns her back. You can notice this
in 'Vivacious Lady.' When it was Jimmy's
turn, the camera was his. But Ginger
knew Hepburn is an actress with every
trick up her sleeve and ready to use them
all. She felt she never could stand a
chance playing in the same picture with
Hepburn weaving around her. She herself
felt she was no match as an actress. But
she has will power. So she went to it. It
was her job and Ginger faced it. When
it comes to her own faults I must say she
is painstaking about trying to overcome
them. She has more will power than any-
one I ever saw."
And I thought to myself, no wonder, she
comes by it naturally. For what other
mother would have the nerve to walk out
and just stand by while her chick fends for
itself? Only one with tremendous will
power of her own — one like Lela Rogers.
IN BETWEEN
(Continued from page 78)
to New York we stayed on for my health
and I sort of 'lucked' into pictures. I had
done a couple of small parts when they
started looking for a child that looked
like Ann Harding. A lady living in the
same apartment house with us told about
me and I got the job. From then on, it was
easy sailing; that is, till now. It's pretty
tough when you've grown up, but aren't
old enough to do things you enjoy."
You can see, too, that despite her cries
of maturity and for all her fifteen years,
Bonita has grown up ! But, she hasn't ar-
rived at the age when she looks roman-
tically toward a handsome gent following
in her footsteps, love aglow in his eyes !
Seems, Bobby Jordon, one of the "Dead
End" kids got a crush on Miss G. and
followed her wherever she went. But to
no avail 1 However, she did go into ecsta-
sies over one gentleman of the cinema.
"Do you know who I really adore?"
Bonita began. "Spencer Tracy! I think
he's the finest actor I've ever seen in all my
life. Everything he does seems so easy ;
while, with other actors, you're continually
conscious of the struggle they're making
to portray a part. With Mr. Tracy every-
thing he does is the character. Yet each
man he plays is entirely different and a
real person. That's the test of acting,
when you can play yourself, or submerge
yourself into a character and not make
the audience conscious that you're doing
it. He seems to have something that no
one else has on the screen. I think that's
why he is great. Wouldn't it be wonderful
to be able to act like Spencer Tracy?"
Indeed, it would, we agreed.
It's something quite remarkable for a
girl fifteen to have such good judgment as
Bonita Granville. In fact, that is probably
one of the main reasons she is such a good
actress. She doesn't know why she feels
about things as she does. She only knows
that by instinct she feels what is right
and acts accordingly.
Many a youngster would pick as her ideal
a handsome John Payne, or a beautiful
Virginia Bruce. But not Bonita Granville !
She's far too intelligent. She chooses the
two top acting names in the movie world,
tops because of their ability and not for
their photographic angles. These are the
stars little Miss Granville sets herself to
emulate and, knowing Bonita, our guess is
that in the future she will come into a place
of her own that will equal any of the great
stellar lights of her day.
MODERN SCREEN
MAKING THE MOST OF THINGS
{Continued from page 45)
nature with art, make up your mouth along
its natural lines and let it go at that.
Then make expression do what you can't
do with make-up. Our pal Number One,
for example, should consciously turn her
mouth up at the corners until the habit
becomes natural to her.
More hints for Number One : Do notice,
please, how that double strand of pearls
exactly reproduces the unbucked-up line
of the chin. The lesson here is never to
repeat a bad line.. If Nature has treated
you shabbily in some feature, don't re-
peat that line by any detail of dress or
ornament. The high, draped neckline on
Number Six also calls attention to her
chin. If the dress were in a light color,
it would be all right. But better necklines
would be broad necklines or squares.
Tailored collars would be okay, too, but
best in light colors. She should avoid Vs.
You can do wonders for a weak chin by
this very simple exercise. Results won't
come quickly, but they will come with
time. Rest your elbow on the table, your
chin in the palm of your hand. Open and
close your mouth very slowly, resisting
the push of the chin all you can. That's
all. You can do this exercise in any con-
venient odd moments.
Number One might, when she is some
years older, lengthen her brows the least
bit at the outer corners. She is right in
leaving them in their natural straight line.
An arch would add to the illusion of length
and narrowness which her face gives. I
can't find much fault with the hair, since
it is youthfully and simply arranged to
suit her age. Perhaps there might be a
little more fullness at the crown to give
the face added width. Finally, this girl
should never wear high hats, for obvious
reasons, and she will never be able to wear
too sophisticated a hat.
Girl Number Two, now, has a very
short chin, and a very full mouth, par-
ticularly the lower lip. And, again, a tiny,
too narrow face. The nose is just a wee
touch long. She has done her hair out in
that big roll on one side and a whoosh of
curl on the other in the mistaken idea
that it widens her face. It doesn't. Now if
this girl had been a blonde, the contrast
between her hair and her skin wouldn't
have been so pronounced, see, and perhaps
the stiff, rather formal coiffure would have
had the desired effect, but as it is, the con-
trast between the dark hair and the skin
makes the narrowness of the face all the
more apparent. What to do, what to do?
With a little skill, this girl can have
that desired blessing, the heart-shaped face.
She has the small, delicate, but nicely cut
chin. But she can't have all that forehead.
And it's a nice forehead — it's a shame to
hide it. Probably that's what the girl
figured, but in acquiring beauty, we must
consider proportion. A' center part and a
pressure forward onto the forehead of soft
waves would be one solution. If she looks
ghastly with a center part (and the
rather long, thin nose might thus be ac-
centuated) she might continue to part her
hair where she does and have a short, thin.
slightly curled bang. It would help.
Another thing : this girl's cheeks seem
full when contrasted with her small chin.
If her hair were a little longer and a ten-
dril or so were allowed to escape over
the jaw line, it might be a good idea. But
that isn't so important as concealing part
of the forehead height.
Number Two's mouth is full and sensu-
ous. That's all right. A cultivated up-
turn in expression would be more at-
tractive, as in the case of Number Six.
The eyes are rather prominent, with deep
lids — that is to say, a lot of space between
eyelash and eyebrow. This is the ideal
type of eyelid for eyeshadow.
The nose, as I said, is a trifle long.
In general, I advise you not to worry
much about your noses. You can't do a
great deal about 'em anyway, and if you
play up your eyes and your mouths, people
aren't going to notice noses nearly as much
as you think. However, there are a few
tricks to kid the public about noses, and
I'll pass them along. With a long nose,
make sure that the inner point of the eye-
brow doesn't come any further in than the
inner corner of the eye. This girl is okay
in that respect — in fact, her eyebrows start
a little beyond that point, which also helps
to widen her face. If your nose is large,
powder it a little darker than the rest of
your face. If it's small and buttony,
powder it a little lighter.
Number Three is a swell, friendly,
outdoorsy looking gal. Black hair with
a natural curl, blue eyes, those decidedly
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Rinsing Off Completely
101
MODERN SCREEN
STOP
CAUSING LARGE PORES AND BLACKHEADS!
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apply fresh make-up !
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102
marked eyebrows. Those grand teeth.
A fine, likable face. The only thing
I'd want to do would be to glamorize it
a little for certain occasions. She looks
like a girl who would be very popular on
the golf course — but on the dance floor,
she might be overshadowed by more
languorous, less wholesome looking belles.
Number Three's face is a little on the
wide side, and I've a hint to pass along
about that. The nose is slightly bulbous
at the tip, and I've a hint about that, too.
Those brows are the least bit heavy at the
inner corners, but they're so black and de-
cided that, in this particular case, I think
I'd leave them alone. Widening the space
between the brows, you know, detracts
from the effect of a blob on the end of
one's nose.
Reams have been written about cutting
down — and increasing — the width of a face
by the placement of rouge. It can be done
— by an expert. But the trouble is, if you
put your rouge in the right spot to narrow
or widen your face, it never seems to be
the logical spot for you to have a flush of
color. I think it's much easier to make
one's hair do the trick. Number Three's
face isn't so full as to be unattractive, but
she could narrow it a little by bringing
her hair down another inch and possibly
letting it come forvi^ard a bit over the
cheeks. If your face is too wide, don't
make the common mistake of thinking you
narrow it by slicking your hair back.
Over-plump — and over-thin — faces profit
by concealing part of the facial outline with
a wave or a curl.
Another thing, while I'm being so fussy.
This gal is young — in her early twenties.
Come later years, I have a hunch that
she'd better watch that chin. A fine exer-
cise for keeping away — or getting rid of —
a double chin is the following simple little
stunt. Lie face down on the bed, with
your head and shoulders hanging over the
edge. Drop your head down. Then pull
it up slowly and back as far as you can.
Feel the pull in your throat muscles. This
is also good for that little cushion of flesh
which comes on the back of the neck —
commonly known as dowager's hump.
1SAID something about glamorizing the
face of Number Three, didn't I? Well,
let — me — see. If you are in danger of be-
ing eternally classed as a "swell egg" . . .
It used to be "a perfect peach" — ugh ! —
in my day. If, as I say, you're tops on the
golf course, but find romance staying away
in buckets on other occasions, what's to
do about it ? You can't make yourself all
over just because there's moonlight and
music, can you? No. Nor would you wish
to. But girl Number Three could, for
example, romanticize herself by three
means : eye make-up, hairdo, - and ex-
pression. The eye make-up would consist
of nothing more revolutionary than putting
mascara on her lashes, which should go
unadorned in the daytime. She should make
them up to match the luxuriance of the
brows.
The hair, now. She wouldn't look so
good in a long bob. No. Then it geefs an
Up Coiffure — or false hair. Personally, I
think this type of girl would look regal and
distinguished with a false coronet standing
up on the top of her head, her own hair
smoothed into a rather slick, severe liiie
around her face. True, this suggestion isn't
the latest scream from Paris in the hair
line, but nothing is more stunning for the
right type. She should wear plain, beauti-
fully cut, rather revealing evening gowns,
of beautiful material, in black or some
smashing, vivid, solid color. Never a frill
or a bouffant line in sight. The young snips
in the male line may prefer the Itsy-Bitsies
and the Cutie-Pies, but I'll bet that the
Interesting Older Men come flocking. And
— oh, yes — the expression. Just cut down
that smile. Number Three, please. Reduce
it from the hail-fellow-well-met sort of
thing to the half-smile, of the Mona Lisa
variety.
Number Four was an exceedingly pretty
girl. Therefore, I haven't a whole heap to
say about her. Just a coupla things. Notice
how charmingly her hairline is shown to
advantage. If you still consider the longer
bob most becoming and practical for
general wear, here is a nice style for a
well-proportioned, good-featured face. An
upward feeling is achieved by securing the
front hair with two tiny, efficient combs.
For evening, this girl could lift the back
hair onto the crown of her head, hold it
with the combs, curl the ends flat and pin
them with a few judicious invisibles.
THE particular reason I included this
picture is that this girl's eyes are deep
set and not nearly as large as they appear.
Notice that the brows are not arched and
that they are left in their natural position —
fairly close to the eyes. This is the first
trick to remember in making deep set or
small eyes appear larger and more promi-
nent. The amateur does the opposite —
plucks or pencils the brows into a high
arch. All wrong. Remember that. If your
brows grow naturally too far from your
eyes, train them down with vaseline and
brushing. Pluck a very few hairs from the
upper edge. Put mascara on the tips of
your lashes only, and brush the outer lashes
out in a diagonal line.
Numbers Five and Six — they're the
sad birds. But each one has possibilities —
oh, yes. That is proved by the fact
that dear old Number Five is the selfsame
girl as the one posing for the five sitting
pictures. Perhaps you've noticed that al-
ready. Only, in the small picture, she has
on no make-up at all, her expression is
that of one who has just received a nasty
letter from the Collector of Internal
Revenue, and her hair is — ^well, need I
say more ?
It is this girl's coloring, however, that I
want chiefly to discuss. She is a redhead.
Redheads can be either stunning — or down-
right homely. Because usually, aside from
the shining hair, they seldom are blessed
with natural beauty. Their features are
apt to be difficult — piquant, perhaps, but
rarely classic. They usually have light eyes.
Nothing much in the way of brows and
lashes. Delicate skins which almost in-
variably freckle. They are the most difficult
of all types to make up, and they need
make-up very badly.
In the larger pictures, you see Number
Five with her make-up on, her hair simply
and becomingly arranged. She is a red-
gold type of redhead, with big gray-green
eyes, light brows and lashes, a wide mouth,
a face that is very interesting in bone
structure and plumb-full of character, but
not pretty.
This girl uses a very clever shade of
eyebrow pencil and mascara. It is what
used to be labelled in my childhood paint-
box "burnt sienna." A light brown-red.
More brown than red, but not a definite
■ browny brown. It was perfect. A darker
redhead, now — one with mahogany or
henna hair — could use the usual brown
mascara. But strawberry blondes, golden
redheads and carrot tops should shop
around until they find this brown-red shade.
It comes in theatrical make-ups and in
some of the higher priced brands. No_ rouge
is a good rule for redheads, but if you
look terrible without rouge, get a shade
which has a touch of brown in it. The same
goes for lipstick. It may mean extra
trouble, but it's worth it.
In choosing powder, each redhead must
experiment. That's absolutely all I can
say. In general, a light rachel is best. But
i
MODERN SCREEN
sometimes, the florid coloring of this type
demands more of a blush tone. In summer,
when the freckles become more apparent,
a mixture of a light suntan and a blush
shade may be good. If your skin is nice,
you could go without powder, fight each
season's batch of freckles with a good anti-
freckle cream, make up your eyes and
mouth and let it go at that.
On Number Six, we see what disaster
can befall when hair isn't properly taken
care of. Perliaps her coiffure is all wrong
and perhaps it isn't — I can't tell. The
point is that her hair is in such a limp,
lifeless condition that even if the hairdo
were good, I wouldn't like it. The effort to
lift the face up a bit by that coxcomb over
the forehead is pathetic. The hair won't
lift — it won't stay put. First of all, then.
Number Six needs a good course in mas-
sage, gentle brushing, and plenty of good,
warm olive oil. She needs to get her hair
in condition above all else.
The eyes need make-up. The brows need
to be lengthened, the lashes mascaraed.
Since the eyebrows aren't much account any-
way, I would suggest that they be arched
a little, by means of judicious plucking,
over_ the center of the eye, and then
pencilled and brought out at the edges.
This girl might soften her decided jaw
by fluffing her re-conditioned hair a little
more forward. Rouge might be brought
down onto the prominent jaw and blended
with great care, and then powdered over.
If your jaw is a decided one, remember to
powder your neck carefully the same shade
as your face. Number Six should cultivate
a less starey expression. Her mouth should
be made fuller and softer with lipstick.
Well, sir, I've spent so much time on
my six young friends, I'll have to hustle
through my lecture on gestures. The five
larger pictures on pages 38 and 39 pretty
much tell their own story anyway. Four
of them point out certain common faults
committed, through nervousness and lack of
poise, by girls who are as pretty or even
prettier than our model. That's why you
sometimes see the poised plain girl having
a better time and catching more beaux than
the self-conscious beauty.
You recognize, I'm sure, the girl who
has tobacco-trouble. Either she shouldn't
smoke, or she should manfully swallow the
tobacco, or she should learn how to smoke
without getting shreds of the weed in her
teeth. You recognize the belle who can't
keep her straps up. She should have a
dress rehearsal in her evening frock. So
often we are apt to stand like a mannequin
in the new gown in front of our mirrors,
and think it's going to stay that way when
we sit or lounge or dance. Remember to
sit straight so that straps don't flop-doodle
down the arm, or else shorten the straps,
or choose something with a stronger bond
between you and indecency than four strings
of chiffon.
You recognize the "fiddler." She hap-
pens to be fiddling with her hair. She
probably also fiddles with her hanky,
packets of matches and anything that comes
handy. Keep your hands still — until you
have occasion to use them, and then use
them as gracefully as you possibly can.
And then there's the picture where our
model has fetchingly poised one hand on
her shoulder, crooked the other one into
her chest, and is favoring the world with
an ear-to-ear grin. She is indicating to
the gent who is talking to her that she's
just too, too enthralled with his conversa-
tion— and she is overdoing it to beat hell.
Contrast this picture with the quiet, poised
girl with her hands clasped under her chin,
her head bent charmingly forward just a
little and the absorbed, half smile on her
lips. Much, much better.
Just one last warning to you all. There
are a lot of girls who look like perfect
knock-outs — until they open their mouths.
And then — you guessed it — dull, unattrac-
tive teeth ruin the whole effect. Well,
there's a remedy for that too. What kind
of dentifrice do you use? Is it too soapy,
or does it contain grit? I know an ex-
cellent tooth powder which contains no
grit, pumice or bleach but it does contain
Irium, that wonderful cleansing agent
which helps brush away surface stains that
hide the beauty of teeth. If you'll fill out
the coupon below we'll be glad to send you
a seven-day free trial packet of this tooth
powder.
Remember, not only the voice, but the
face with the smile wins. And, in order
to make yours winning, your teeth must
be the proverbial pearly white.
That is absolutely, positively all the
space I can take up. I could go on forever
—each individual beauty problem is so
different. There is so much to say about so
many types. But I don't want to wear out
muh welcome. So I'll sign off now, quickly,
before I think of something else.
Mary Marshall
MODERN SCREEN
149 Madison Avenue,
New York, New York
Please send me, absolutely free, the
7-day trial of tooth powder.
Name
Address
City ....
State .
Her Freshness Charms
A twinkling dancing star, Dixie
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with her freshness. Hollywood
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Freshness
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and Old Golds .too !
Every pack wrapped in 2 jackets
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YOU can't blame a Hollywood star for
worrying about going stale. For all
the talent in the world won't hold a star's
popularity . . . once the appealing charm
of freshness fades.
That's true, too, of a cigarette. Many a
talented cigarette, that leaves the factory
fresh, is a stale "has-been" by the time it
reaches the smoker.
Tobacco freshness must be guarded
against d ry ness, dust, or too much moisture.
That's the reason for Old Gold's double-
sealed, double Cellophane package. You
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Always, Old Golds are double-mellow,
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TUNE IN on Old Gold's Hollywood Screenscoops, Tues-
day and Thursday nights, Columbia Network, Coast-to-Coast
103
MODERN SCREEN
x-Roy
Little bones
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You ask the questions — we'll answer them
RONALD COLMAN: It's
not easy to picture the
dashing Ronald Col-
man in black face, but
he actually made his
professional deb.ut
under a generous ap-
plication of burnt cork.
The occasion was a
playlet by Tagore, en-
titled "The Maharanee of Arakan," the
time, 191G, and the place the Coliseum in
London. Ronald played a herald. Born
in Richmond, Surrey, England, February
9 1891, Colman attended the Hadley School
at Litt'lehampton, Sussex, until he was six-
teen, when the death of his father made it
imperative that Ronald find work. He found
a job as an office boy at $2.50 a week, and
within five years rose to the position of
junior accountant. At night he continued
to Indulge his interest in amateur theatri-
cals, which had its origin during his Had-
ley School days. He also enlisted in the
London Scottish Regiment, the equivalent
of our National Guard. 1914 found him in
the front line trenches, a private in Kitch-
ener's "Contemptibles," that first hundred
thousand of England's army to land in
France. He saw action in the first battle
of Ypres, suffered a fractured ankle at Mes-
sines and was sent back to England and
given clerical work for his second year in
the army. Finally he was discharged, after
an unsuccessful attempt to get back into
action. His blackface stage debut was
followed by roles in "The Misleading Lady"
and "Damaged Goods." He took a very
small fling at films, making a two reel
comedy in an improvised studio rigged up
in a vacant house, and today expresses ex-
treme gratitude for the fact that it was
never shown. In 1020, he came to America
armed with thirty-seven dollars and three
clean collars. He was down to his last dol-
lar when he got a role in "The Dauntless
Three." In 1922, he was sent to Italy to
play the male lead opposite Lillian Gish in
"The White Sister." He remained there to
make "Romola" with the same star. After
that Colman returned to Hollywood and
made many successful pictures, including
"Bulldog Drummond," "Arrowsmith,"
"The Masquerader," etc. After another
European vacation, Colman signed a new
contract, made "Bulldog Drummond Strikes
Back" and "Clive of India." His last two
pictures were: "Lost Horizon" and "Pris-
oner of Zenda." His next will be "If I
^Yere King." Ronald Colman is five feet
eleven inches tall, has dark browu hair and
eyes. He weighs one hundred sixty pounds.
He enjoys tennis, motoring, reading and
swimming. He was married once and di-
vorced. At present Colmau's name is often
linked romantically with that of Bcnita
Hume, English actress. You may address
hiui in rare of Paramount Studios, Holly-
wood, California.
'^^y^M LOKETTA YOtJXG: Don't
let her record of twenty
years in the movies fool
you, for this talented
star is still a youngster,
unless you call twenty-
five middle-aged. Lo-
retta Young was born in
Salt Lake City, Utah,
January 6, 1913. Her real
name is Gretchen Young. Loretta's whole
family has been pretty closely identified
with the movies. Her two sisters, Polly
Ann and Sally Blane, have done consider-
able work in pictures. Loretta made one
appearance at the age of five, then went to
school in Los Angeles and Alhambra, Cali-
fornia. When she was fourteen years old
Polly Ann's studio called one day for that
young lady to come in for a new role. But
Polly Ann was away, so Loretta went over
in her sister's place. She got the role, too,
and played it so well that she won a long-
time contract. She's been in the movies
almost constantly ever since. She has been
cast in a great many big productions, and
at one time or another has played oppo-
site almost every one of the screen's lead-
ing men. Loretta is as active as three aver-
age girls. Some of her hobbies are dancing,
riding, swimming, yachting, flying and
HUNDREDS OF ADDRESSES
FOR A STAMPED ENVELOPE!
Want to know your favorite player's
address? In ■fact, would you like to
have a complete list of all the Holly-
wood stars' mailing addresses? It's yours
for the asking. So many of you have
written to this department wanting to
know where to write this one or that
one for an autographed picture, or per-
haps you just want to write a fan letter,
that we've compiled a complete list for
you, naming the players alphabetically,
according to their studio, and giving
their complete mailing addresses. They
are all there, even the featured players,
printed in such a compact form that
you'll be able to keep the list in your
movie scrap book for reference when-
ever you want it.
To receive one of these lists, all you
have to do is write to us and ask for
it, enclosing a lar^e self-addressed and
stamped envelope. Don't forget that
last item, as no request can be complied
with unless we receive your stamped
and addressed envelope. Send your re-
quests to the Information Desk, Modern
Screen, 149 Madison Avenue, New
York, N. Y.
104
MODERN SCREEN
ping pong. She selects her own wardrobe
both on and oft the screen, and is a tireless
movie fan. She also is quite a camera ad-
dict and takes her own movies everywhere
she goes. Photography is probably her
favorite hobby. Loretta Young is naturally
reserved. She does a lot of reading, and
prefers the intellectual type of man. She
comes from a charming, harmonious home,
and was educated mostly in convents and
by private tutors. She is five feet three
inches tall, has light golden brown hair
and deep blue eyes. She weighs one hun-
dred and nine pounds. Loretta is consid-
ered one of the best camera subjects in the
movies because she photographs well from
every angle. Loretta's last two pictures
were "Four Men and a Prayer" and "Three
Blind Mice." Her next will be "Suez."
You may address her in care of 20th Cen-
tury-Fox Studios, Hollywood, California.
LEO CABRILLO: This
versatile character actor
was born in Los Angeles,
California, on an August
6th at the turn of the cen-
tury. He is one of the
eleven children of Juan J.
Carrillo, first mayor of
Santa Monica, California,
and of Francisco Roldan
de Carrillo. Leo, a direct descendant of the
California dons, possesses a historical heri-
tage unequalled by any other motion pic-
ture celebrity. His great-grandfather,
Carlos Antonio Carrillo, the first provision-
al governor of California, fought the Battle
of Cahuenga Pass a century ago against
Michael Torena Bandini, an Italian admiral,
and settled in San Diego early in the nine-
teenth century. At one time the Carrillos,
through inter-marriage with other prom-
inent early California families, owned
nearly all the territory between Monterey
and the Mexican border. The future actor
received his early education at Santa Mon-
ica High School and at St. Vincent's (now
Loyola College). He admits he was a rest-
less scholar but a good athlete, and at one
time he held the coast championship for
long distance ocean swimming. His mother
hoped he would become a priest, but his
father favored the boy's desire to become
an artist. Leo travelled north to San Fran-
cisco, working on the railroad en rovite, and
became a cartoonist on the "Examiner."
There he was assigned to Chinatown. He
picked up Chinese and Italian dialects and
became popular in San Francisco ama-
teur theatricals and as an after-dinner
speaker. He prepared a vaudeville act and
was booked by the Orpheum Circuit. He
remained in vaudeville for several years as
a headliner, but his career as a legitimate
actor began when, while playing polo at a
fashionable Long Island club, he ad libbed
a comic Italian, was overheard by a thea-
trical producer, and was given the part of
an Italian in "Twin Beds." His greatest
stage triumph was "Lombard!, Ltd." es-
pecially written for him. In it he starred
for four seasons, touring New Zealand,
Australia and Tasmania. Carrillo made
his screen debut in "Mr. Antonio" in 1929.
Since then he has made some forty or fifty
pictures. His role of Corelli, the warm-
hearted music-loving Italian gambler in
"Love Me Forever" with Grace Moore, ranks
as his favorite. Carrillo is married to Edith
Shakespeare, a non-professional, and they
have a seventeen-year-old adopted daugh-
ter, Marie Antoinette. They live on a ten-
(Continued on page 115)
INFORMATION DESK, MODERN SCREEN,
149 Madison Ave., New York, N. Y.
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Roylace, 99 Gold Street, Brooklyn, N. Y.
Here's Joy Hodges, whom
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Secretary" with Constance
Bennett and Vincent Price.
After a successful Broadway
season with George M. Cohan
in "I'd Rather Be Right," Joy
hied herself to Hollywood. Her
on-and-off romance with Rob-
ert Wilcox has kept the whole
film colony guessing.
"The Lady Objects." She's
Gloria Stuart and you'll see
why in Dec. MODERN SCREEN
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MODERN SCREEN
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Today /Address
106
refused Joe Doakes. There isn't much left
nowadays of that sort of mewling and
mooning. With the exception of the few
fanatic fans who can see no romance _ in
The Boy Next Door because he can't sing
like Nelson Eddy, croon like Bing Crosby,
wing an arrow like Errol Flynn, look like
Tyrone Power or sweep them of¥ their
feet like Clark Gable.
"Today," said Olivia, "we think with
the man's side of our brains. I know that
I'm learning, too. I've seen to it, this
past year, that I did some growing up.
I'm not the girl I was a year ago. I
realize that God gave me a brain as well
as a body and I'm using the brain. Now
I make my own decisions. I guide my
own existence. I haven't much time to
dream. There are too many things to do.
A year ago I regretted that I didn't have
more time for dreaming. Now I don't.
I know that it's healthier.
"I'm not susceptible, I guess," laughed
Olivia. "I never imagine that I am in
love with anyone. When I fall in love,
I'll know it. And when I do fall in love
I want something honest, something sub-
stantial, something, well, inspiring and
completely human. I want to know, when
I fall in love, that I am not dreaming.
"Illusion is all very well in its place.
Screen illusions are fine, in their place.
People see me on the screen as Arabella,
as Lady Marian, false eyelashes on, hair
just dressed, giving it all I've got. That's
all right. Masses of people have no right
to know me too personally and too well.
And they don't. For you have to remem-
ber that they don't see me washing my
teeth, cold-creaming my face or putting
out the cat !
"I suppose," said Livvy, "people may
wonder why I don't splinter my young
heart to pieces over the handsome men
I meet and work with in pictures. I don't
because, for one thing, it's work I'm doing.
When Errol Flynn and I are doing a love
scene on the screen, when he says, T love
you,' he is thinking of his next line and
I am thinking of my next line. We are
both hoping we won't go up in them. We're
hoping we'll deliver them with the proper
inflection and feeling.
"When Errol kisses me on the screen,
he's not kissing Olivia De Havilland, he's
kissing Lady Marian. When I kiss Errol
Flynn on the screen I'rn not kissing Errol
Flynn, I'm kissing Robin Hood.
"I don't mean that the girls and nien
who play together in pictures don't like
each other a lot. We do. We usually
like each other a great deal, enjoy being
together, talking together. But we don't
often fall in love with each other because
love is not on our minds.
"Take some of the famous screen teams,"
Olivia suggested, "if you want to be con-
vinced that propinquity during the making
of a picture has nothing to do with Dan
Cupid's blood pressure."
I "took" Jeanette MacDonald and Nelson
Eddy, Ginger Rogers and Fred Astaire,
Ann Sothern and Gene Raymond — and was
convinced. For certainly if propinquity on
sets, if embraces under the camera's eye
does induce the fever called love, then
Jeanette would be married to Nelson, not
Gene ; Gene would be married to Ann, not
Jeanette, etc.
"It would be too pat," laughed Olivia.
"It would be much too pat for love to walk
right into a set where Errol and^I were
about to go into a clinch. Dan Cupid is
too subtle for that.
"Besides, I see so much of men, you
know. We all do, working in pictures.
Ever think of that? On the set, you know,
there are usually three women, the star,
the hairdresser, the wardrobe girl. _ All of
the rest are men, producers, directors,
members of the crew. We get to know
men awfully well. And so, men are not
mysterious beings to me. They are fellow
human beings, that's all. We don't need
men so much. If anything, when I go
home at night I want to go home alone.
I find that I don't need company of any
description. I want to have dinner alone,
go to bed alone, have breakfast alone.
When I go home that's my real life, you
know, that's me."
I said, suspiciously, "Oh, so? And what
do you do at home?"
IF she says that she cooks dinner on
cook's night out, I thought, reads good
books, plays Russian bank with her mother
or knits, I'll never talk to her again, but
will confine all my future efforts to Hedy
(Ecstasy) Lamarr and the Ladies Known
As Lou.
But I was saved from that fate. Liwy
plays ping-pong — a crashing game. Liwy
goes surf-board riding with Billy Bake-
well. Livvy and Billy have been twq-
soming it pretty steadily of late. But it
is not, said Livvy loudly, a romance. It
is a friendship. "There is such a thing
as friendship," declared Olivia. Billy calls
Liwy "Little Wail-Eye." Livvy calls
Billy "Little Bat-Eye." Livvy also calls
Billy "my Booer- Wooer." What this
means she doesn't know. She doesn't even
know how to spell it. So I've tried. Well,
she warned me that she is slightly mad 1
"Billy often calls me on the phone and
reads philosophy to me by the hour,"
Olivia said. "Sometimes he comes over
carrying stacks of books on philosophy and
stacks of strawberry ice cream and we have
a wonderful time. Now, there's nothing
dreamy about doing things like that.
"I go out with other boys, too, now and
then. But I've been going out mostly with
Billy these past few months. We do things
. . . we have fun."
I said, "But do you ever, well, sort of
fix up for a date ?"
"Why, yes," considered Olivia, "I sup-
pose I do. If some young man is coming
to the house and I know that he likes
me I make an effort not to disappoint him,
of course. I won't say that I put on the
old false eyelashes or wonder what dress
to wear, but I do make up — once — and
hope to heaven that it will last.
"And I'm trying lately to dress up more
when I'm not working. As you have
noticed. I've noticed you noticing. Yes,
I realize now that I mustn't disappoint the
fans who see me as Lady Marian and the
others. My business is to maintain their
opinion of me. It's lazy and stupid not to.
"It's just that women have come into
their own now," said Olivia. "We don't
sit around imagining and dreaming. I
know that I don't. But when the real
thing comes along I'll recognize it. I won't
be fooled by appearances, cheated by a
deceptive illusion. I don't need a man to
lean on. I want a man as a friend, as a
lover, as a husband and companion. When
love comes along I think I'll be wise
enough to take it, for keeps.
"I am sure that it will happen to me,"
said Olivia, then, "because, as I said be-
fore, I am a woman. I can't get away
from that. I don't want to."
i
MODERN SCREEN
(Continued from page 83)
some time. Audiences will wonder how
two such opposite personalities could have
met and married in the first place, a little
detail which the above-mentioned scenarists
don't even mention. Some of the typical
western stuff is good, and the final scene,
which kids the Nevada divorce laws, is
bright and eff^ective.
Randolph Scott does well by the hand-
some cowboy husband, and Alan Marshall
is splendid as a well-mannered rival for
Miss Hampton's hand. Helen Broderick
subdues her customary acidity out of re-
spect for the noble traditions of the West.
Glenda Farrell plays her wisecracker role
with the assurance which comes from hav-
ing played it often before, and Dave Oliver
supplies comic aid as Scott's pal. Spencer
Charters stands out in a bit role as a
Reno judge. S. Sylvan Simon directed.—
Universal.
**My Lucky Star
Mr. Zanuck's grown-up Shirley Temple
— Sonja Henie — returns again to her
screen public, and once more Boy meets
Girl, when Girl isn't busy skating. Shiny
and cold as the ice on which she performs.
Miss Henie is mechanically perfect in her
skating routines and perfectly mechanical
in her romantic interludes. Audiences,
however, do not seem to expect Sonja to
be a first-rate dramatic actress. They
come to see^ her skate and they go away
pleased, feeling they've had their money's
worth. Because of that, little Miss H. is
one of the screen's top box-office draws, a
phenomenon which Academy Awards win-
ners might well ponder.
This time Sonja goes to college. She's
a department store clerk and the store
sends her to college with trunks of clothes,
hoping with typical movie optimism that
she will increase their trade immeasurably.
At good old Plymouth, Sonja is doubly
fortunate. It seems to be winter all the
time there, and Richard Greene is also
present. Sonja falls in love with all three
— winter, Plymouth and Mr. Greene — and
after a_ barage of college songs and a bit
of intrigue involving Cesar Romero (the
boss' son) and Louise Hovick, the eventual
happy ending arrives.
A lovely "Alice in Wonderland" ballet
on skates, the picture's feature number, is
beautifully staged, and Sonja's other skat-
ing numbers are well done. Richard Greene
is an adequate college hero, and Cesar
Romero turns in nice comedy as the play-
boy son of George Barbier, who is excel-
lent as the department store owner. Louise
Hovick, much improved over her past per-
formances, makes a small role stand out.
Buddy Ebsen and Joan Davis are well
matched as a comedy team. Roy Del Ruth
directed. — 20th Century-Fox.
Three Loves Has Nancy
In this new M-G-M comedy, Robert
Montgomery plays a best-selling author
who goes on a lecture tour to escape a de-
signing woman. After giving his views on
life and love to the ladies of a particularly
small town, he meets Nancy (Janet
Gaynor), spends the rest of the picture
avoiding her, and in the end turns square.
Franchot Tone is involved in the story
as Montgomery's bibulous publisher. When
Janet Gaynor follows Montgomery to New
York, Tone falls in love first with her
cooking, then with her own simple self. It
is Tone's interest in her that finally
awakens Montgomery to her charms.
The comedy is all of a type that you've
seen before, but some of it is amusing,
and there are one or two really funny
scenes. Miss Gaynor gives a good per-
(Contimied on page 111)
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108
ON HOLDING
EVERY YOUNG woman desires to
know, not only how to get the right
man, but how to keep him in love
with her.
If she possesses youth, a sUm fig-
ure and charm, she can usually win
him. But to hold him to their mutual
happiness — that is no small task. For
a man's love is unpredictable. It must
be fought for and cherished.
Today it is made all the more diffi-
cult to hold because the modern man
is surrounded by attractive women
both in his business and in his social
life. And the position of wife is no
longer a life tenure.
What should a woman do who has
captured the man she loves and would
like to keep wedding bells ringing?
How can she keep alive the flame of
their love?
She has gotten much advice from
clever women who understand men.
But there is no better way to learn
than to ask some of Hollywood's most
attractive men themselves. For a
Hollywood husband is the hardest of
all to hold.
The first man whose advice I
sought was the popular Fredric
March, who has irresistible appeal. I
was eager to hear what he would have
B Y
LILLIAN GENN
The glamor boys tell
you — and they should
know — how to keep a
lad interested
"Kindness cmd understand-
ing," claims Nelson Eddy,
"will work out any problem."
to say because his union with Florence
Eldridge is like the Prince and Prin-
cess in the fairy-tale who "were mar-
ried and lived happily ever after."
"I think," he said, "that the wife
who gives fully of her love and devo-
tion will arouse equal love and devo-
tion in her husband. He will continue
to be devoted even when the years
have changed her. In fact, he won't
notice the changes because her inner
personality means so much more to
him that he isn't conscious of her
changed looks.
"I'm always very much amused at
the advice given women to look allur-
ing and glamorous for their husbands.
Every man naturally wants his wife
to look as attractive as possible. But
that's never the thing that 'holds' him.
One has only to look at the beauties
that fill the divorce courts to realize
the truth of this.
"It's a thing of the spirit that keeps
a man in love. It's nothing that's
found in beauty jars or bottles. And
a woman who gives love and kindness
doesn't have to worry whether she's
alluring to her husband and whether
she's 'holding' him.
"When you come down to it, no
one can really be held," Freddie
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said. "Let one know that someone
wants to hold him and he will at once look
for an exit. This is true of any relation-
ship in life and particularly of marriage.
"A wife should try to give her husband
a completely satisfying companionship.
That is what he marries for. To offset
loneliness and to have someone responsive
to come home to, someone who shares his
business cares, his ambitions and his
dreams. He wants her to make a pleasant
home for him and his children, and not
to cloud the relationship with nagging or
bickering.
"In short, the woman who is a wife in
every sense of the word can forget about
holding her man. She won't be able to
get rid of him," twinkled Fred.
Leslie Howard and his wife are another
couple that are blessed with a fine com-
panionship. They have their mutual in-
terests in the children and in the literary
and cultural things of life.
Despite the fact that he is a matinee
idol pursued by women, Mr. Howard is
essentially a home man and his life centers
there. This is indeed a tribute to his wife.
"The woman a man loves," he said to
me, "is the one who is gentle, unaffected,
liberal-minded and nonpredatory.
"She must be a 'womanly' woman," he
went on to explain. "Here I make a
distinction between her and the 'womanish'
woman. The one who is 'womanly' has
a maternal quality combined with what one
might call the greatness of her sex—a
generosity of soul which makes her big,
understanding and, one might almost say,
divine.
"The 'womanish' woman is one who
stays down on earth. She is tied to her
petty feelings and personal prejudices. She
has none of the greatness of the other
woman. But every woman is a combina-
tion of both types, to a greater or lesser
degree.
"I don't believe that sex is the most
important thing in marriage. Naturally I
can spfeak more positively about the Eng-
lish man. He doesn't marry a woman for
her sex appeal or her beauty and she
doesn't have to wonder whether she's still
able to charm him._
"They get married because they have
similar tastes and aims. Each has some-
thing to contribute to the marriage. Be-
cause their marriage is based on something
sound and durable, it grows stronger with
the years.
"If a woman takes her marriage obliga-
tions seriously and has the qualities I men-
tioned, she will always have her husband's
love and respect."
Gary Cooper has very definite ideas as
The Fredric Marches'
marriage is a success.
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110
to what keeps a man in love.
"If a woman is tolerant of her hus-
band's habits and faults, if she's willing
to overlook little things and not magnify
them, she will keep her husband in love
with her forever," he insists.
"A wife should have a fair knowledge
of housekeeping so that the home runs
smoothly," he further specified. "She
shouldn't be too vitally concerned with en-
tertaining people and giving parties. A
man who has been working hard all day
doesn't always want to have people in
his home. Nor does he want to be going
out on a round of pleasure.
"I like a woman who is appreciative
of the things done for her, who has a
sense of humor and who doesn't nag. Nag-
ging, to me, is one of the big sins of
married life and is responsible for more
divorces than any major offense.
"A man also seeks in a wife a certain
calmness and understanding that will allow
him to relax after business hours by mere-
ly being in her presence. He likes to get
sympathy from her and to be petted when
he is in trouble. He wants her to take
an interest in his work and to know some-
thing about it so that she can give an
opinion.
"He desires her co-operation in other
things, too — in sports or in the hobbies
or in any other interest he pursues. He
wants her to be ready and eager to be
with him. Whether in work or in play,
the ideal wife is always a pal."
NELSON EDDY expressed surprise at
the question when he was approached.
He didn't see why there need be any specu-
lation as to what holds a man.
"It's very simple," he said with an en-
gaging grin. "It's kiiidness and understand-
ing.
"Married life can't always be smooth.
There are times when jealousy and doubt
will appear. Kindness and understanding
will help to work out these problems as
well as any others that arise.
"Jealousy, mistrust and excessive vanity
destroy love very quickly. On the other
hand, I think that too much love is prob-
ably the worst enemy of love. There's
nothing more terrible than that stifling at-
tention of someone constantly around your
neck."
Mr. Eddy agrees with the other men of
Hollywood that it's important for the wo-
man to make herself an essential part of
her husband's life.
"She should be his companion in every
enterprise. The wife is foolish who doesn't
realize that every man has to have some
woman to whom he can tell the things he
would never tell a man, some woman to
whom he can boast of his triumphs and
who sympathizes over his disappointments
and blighted hopes. Some woman who en-
courages him and who restores his faith
in himself and gives him the courage to
go on. That is why a wife should take an
interest in her husband's work and be his
best friend and pal.
"But," he added, "she shouldn't dis-
courage him when he wants to get away
with other men. There are times when a
man wants to change to the companion-
ship of men. Then he returns to her with
renewed pleasure and interest."
According to Ronald Colman many a
woman loses her husband because she tries
to make him over.
"By the time a man marries, his habits
are formed and his tastes set. A woman
should accept them as they are and not
try to change them.
"I think that tolerance of his tastes and
idiosyncrasies is the secret of keeping his
love. To my mind it would make a dull
and boring married life if the husband and
wife thought and felt alike and had the
same tastes and desires.
Ronald Colman says not to
try to make a man over.
"The wife who is easy to get along
with will never lose her husband to any
other woman. It's the one who is critical,
who always complains and is dissatisfied
who turns her husband from her. A man
gets plenty of hard knocks in the outside
world. A wife doesn't have to add to them
by finding fault with him.
"A wife should praise her husband and
make herself his most ardent admirer. If
she feeds his ego," smiled Ronnie, "she will
keep him at her fireside."
Richard Dix advises the woman to culti-
vate her sense of humor and to learn to
laugh at things.
"A man wants peace and quiet and gayety
in his home after a day's work. My wife
realizes that my work puts me under a
mental strain. When I come home, she sees
to it that I forget work. She talks about
other things, • gives me a lot of attention.
In that way it helps to shut the door to
the work-a-day world.
"She never tells me what to do. She
makes some casual suggestion and because
I know she's interested in me, I'm inclined
to weigh it. We have splendid times to-
gether because we like the same things.
We enjoy books, the theatre, sports and
home life. We love travelling and we love
being on our ranch. My wife isn't socially
ambitious, and although she's pretty, she
doesn't want a movie career. Instead she's
making a good home for our twin sons and
me. That's why my home has become my
greatest interest."
Paul Lukas believes that the secret of
the whole business is to make the same
efifort after marriage as before the wed-
ding knot was tied. For love has to be
earned. No one is automatically bound to
love you.
"Naturally," he pointed out, "love can't
thrive if the woman lets down after mar-
riage. A man will fall in love with a wo-
man because of her gayety or her sympathy,
her admiring and looking up to him. He
likes her daintiness and grace and her
lovely figure.
"After marriage she changes and the man
finds as a life partner a woman he never
selected. You can't blame him if he feels
cheated. The woman should do the things
she did before marriage. She should keep
carrying on romance just as though she
weren't married to him. In that way she
won't make the mistake of rela.xing all
effort. She will try to be pleasant and
agreeable and interesting, and discover it
to be worth-while."
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{Continued from page 107)
formance in the outmoded role of a sincere
PoUyanna, Montgomery plays his usual
suave man-about-town without apparent
effort, and Franchot Tone manages to get
in a few touches of light comedy which
may surprise his followers. Guy Kibbee is
entirely wasted, being assigned hardly ten
short speeches in the pitcure. Charley
Grapewin, as Miss Gaynor's grandfather,
is outstanding in the supporting cast.
Producer Norman Krasna deserves
credit for attempting a story different from
Hollywood's run-of-the-mill product, even
though his effort is not entirely successful.
Richard Thorpe directed. — M-G-M.
'jl^^ Crime Over London
Here is an amusing yarn concerning the
manner in which Scotland Yard might deal
with a band of 'so-called' American gang-
sters. It will probably prove a box-office
success, as it contains well-known ingredi-
ents for pleasing Mr. and Mrs. Average
Movie-goer. There is plenty of action, sus-
pense, thrills and the usual love interest
The story concerns the Silver Anni-
versary of Sherman's Department Store.
When a member of the gang spots Joseph
Cawthorn as the shop owner's double, the
fun begins. The gangsters plan to use this
as a means to effect their big haul. How-
ever, there's many a slip twixt the cup and
the lip and therein lies the suspense. Bruce
Lister, nephew of the concern, is in love
with Rene Ray, who goes to work for her
future uncle-in-law. To make Bruce jeal-
ous, she flirts with Inspector Paul Cavan-
agh, which brings the law into the picture.
After reels of tense excitement, Cavanagh
manages to capture Basil Sydney and his
gang, and all's well that ends well. — G-B.
Strange Boarders
The prolific G-B gives us another of those
mystery melodramas. This one, however,
is far superior to those of the past a.nd
will no doubt reap rich returns for it's
producers.
A pleasant surprise is a new and com-
pletely charming Miss, apparently hailing
from la belle France — Renee Saint-Cyr. In
fact, we think you'll be hearing more of
her very soon.
This is a saga in which we glimpse the
Intelligence Service solving a major prob-
lem of national importance. With the sud-
den death of an old lady, police discover
that military secrets via photostats are be-
ing stolen. As the picture unreels we see
Tom Walls, forced to abandon his bride
on their wedding night. There are mo-
ments when apparently all is lost, but by
the last reel Walls, with the aid of the
fire department, surrounds and captures the
criminals. At last bride and groom can
safely look forward to that belated honey-
moon, so everyone's happy. — G-B.
Drums
Following an old formula, G-B gives us
our second glance at their young star,
Sabu. In this one, however, they have
missed an excellent opportunity to turn out
a really great picture. With the colorful
background of the Northwest Frontier of
India it seems conceivable that they could
keep things going at a lively pace. Sceni-
cally, the picture is without reproach, the
color enhancing the beauty and natural-
ness of the majestic mountains of India.
The story deals with tribal wars, headed
by the villainous Raymond Massey, who
shoots his own brother to gain his throne.
Sabu escapes his uncle's dastardly plans
for his untimely end and remains in hiding
{Continued on page 114)
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ALL JOKING ASIDE
Here's Jack before he met
Gym. There was plenty to
Oakie then.
After Mr. O. found lamb
chops and pineapple. A
mere shadow, eh?
BY LOIS SVENSRUD
YOU CAN have a lot of fun piling up the
poundage," said Jack Oakie, "but you can't
laugh it off. Believe me, streamlining the
chassis is serious business.
"How did I get started? Breathes there
a man with soul so dead who never to
himself hath said 'Am I_ getting a pot-
belly' ? And the answer in my case was
obvious. I could be seen coming through a
door three feet before the final Oakie
appeared. Besides, Venita had said just
once too often 'Sure I love you, honey.
Everyone loves a fat man'. Now, being a
studio laughing-stock is okay by me — but
a man has his pride. It was just about
time to start something anyhow. They
were beginning to bill Oakie pictures as
double features.
"Yeah, it was serious business," Jack
said. "And of course," he added reflec-
tively, "since I weighed two hundred and
ten pounds it was hardly a matter to be
taken lightly. Reducing's no fun for any-
one around you, either. I tried it, that first
week, at home. Each day experimenting
with a different trick Hollywood diet — ■
and stalking around like a starved cannibal
with a missionary in mind. Under strain
of trying to keep my appetite down and iny
spirits up, Venita, who's desperate to gain,
was slowly dissolving before my eyes. And
since Jack could eat no fat, his wife no
lean, the cook was going quietly mad
juggling menus. Then I stepped on the
scales at the end of the week. I'd gained
eight ounces ! That was my cue. I took
off to a sanatorium where I could pay to
have my worrying done for me. And that,"
said Jack, with a look of remembered
sorrow, "is the place to lose weight.
"In less than two months they'd peeled
off forty-five pounds of fat — excess avoir-
dupois to be as fancy as the price. A
cinch? Nope, you've got me wrong. Life
was real, life was earnest to those guys —
and one hundred and fifty pounds was my
goal. I didn't have a minute to call my
own. My trainer woke me at six, walked
me for eight miles before breakfast, and
then no breakfast. A couple of fast sets
of tennis followed and then it was the
masseuse's turn at me. Followed a lunch
of lettuce salad and a spoonful of cottage
cheese to take the curse off it. By that time
I was ready for a nap — but not on your life !
My other trainer was ready for eighteen
holes of golf (my morning trainer, exhausted,
was having a nap). For relaxation after
this bout I was allowed a half-mile swim
in the pool followed by a quick work-out
on the rowing machine and a two mile
dash around the lake on my bicycle. Came
dinner, a tasty meal of lean meat and a
variety of greens. The fastest road to
svelte lines is a diet of green stuff, accord-
ing to the head doctor who'd evidently
never seen an elephant. Well, after that
orgy, both trainers would race Inmate No.
17435, otherwise known as yours truly, to
his cabin. I'd fall into deep slumber, too
intimidated to even dream of a baked
potato. I was beginning to wonder if half
an Oakie wouldn't be better than none
when the boys {Continued on page 114)
Believe it or not, half an Oakie is twice as funny
as the former blown-up version, you will agree
112
MODERN SCREEN
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(Continued from page 17)
GARDEN OF THE MOON
John Quinn runs a night club called
Garden of the Moon for the McGillicuddy
brothers, who are so thrifty that they re-
cite a rhyme concerning economy. John
imagines that his press agent, lovely Toni
Blake, is his for the asking. Then Don
Vincente, a handsome orchestra leader,
steps into the night club and the affairs of
John and Toni. John makes things hot for
his rival, but, after a series of obstacles
and misunderstandings, Toni and Don get
together.
MEN WITH WINGS
The time, pictorially, is 1914, and Louise
Campbell, Fred MacMurray and Ray
Milland have built a plane. As a result, an
aircraft manufacturer signs Fred and Ray
to work in his factory. Fred soon be-
comes bored and joins the Lafayette Esca-
drille. Louise, whose father works on a
newspaper, joins an ambulance unit and
marries Fred. Several years later, Fred
starts an airplane factory and makes Ray
manager. In 1936, Fred has gone to fight
in China and is killed. And so, Ray and
Louise, left alone, start a new life together.
AMAZING DR. CLIHERHOUSE
Dr. Clitterhouse (Edward G. Robinson)
is discovered at his hospital with stolen
jewels. He explains his robbery as
"scientific research." He gets rid of the
loot through a "fence," and, impressed with
his ability, a group of gangsters offer him
partnership. They arrive at a fur house
for a last robbery when one of the gang,
jealous of Clitterhouse, shuts him in a
vault. The doctor, using an instrument,
miraculously escapes, is arrested, finally ac-
quitted and wins Jo (Claire Trevor).
* * *
TIME OUT FOR MURDER
Helen Thomas sits in a glass booth in
New York's telephone office, giving the
correct time in fifteen-minute intervals to
all who call her number. Johnny, her
beau, who is a bank messenger, stops by
en route to Peggy Norton's, where he is to
pick up jewelry to be deposited in the
bank's vault. Shortly after Johnny leaves
Peggy's, she is killed. The murder is
pinned on him. Later, through calling
Helen for the correct time and using that
special phone number, the real criminal is
indirectly brought to justice.
For more synopses for this
$250,000.00 Quiz Contest see November
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Now on Sole and December
MODERN SCREEN on Sale Nov. 1st
Mrs. Patric Knowles with young
Michael Patric.
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113
MODERN SCREEN
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(^Continued frotn page 112)
suddenly told me they'd shown me the way
and now I was on my own.
■pREEDOM! Home I went and started
breaking over — you know, cream in the
coffee, butter on the toast and similar
major vices. Woops, up went the scales!
It's an insidious thing, this poundage. So
back I went to the 'regime' even to buying
that rack of torture, a rowing machine. At
the point I could take on the Yale crew
single-handed. And as a result there's
fifteen fewer pounds hanging on the frame.
"Worth it?" Jack beamed. "Say, the
glamor boys around town are giving me
the wary eye, and in all due modesty I
might add that I hear Slim Summerville's
now watching his calories. And say ! the
day I returned to the studio was worth it
alone. Hadn't been around the place for
three months, you see. One of the prop
boys stopped me, grabbed my hand and
said, 'Well, well, it's a pleasure to meet
you. I knew your father and he was a
nice man, too'. The biggest director on the
lot rushed up, 'Oakie,' he says, 'with that
tantalizing torso we could make a Tyrone
Taylor out of you. The only, absolutely
only, condition he made was that I do
something equally drastic to my face. And
at home, let me tell you it was worth it.
I had the laugh on the little woman.
Venita's been after me for over a year to
throw away a closet full of old clothes. Old,
sure, and didn't fit. But still good, you
know. Well, now I can wear them —
won't have to buy a new stitch.
"I'm - going to keep on wearing them,
too. I'm still serious about the whole
thing. You have to be. If I don't know
anything else, I know now that reducing's
about as permanent as a bath. The only
sure way to keep in under control is by
exercise, massage and diet. At the risk
of Oakie going biblical I repeat, 'Exercise,
Massage and Diet — and the greatest of
these is Diet.' Come to think of it, Faith
Hope and Charity thrown in wouldn't hurt.
And that," said Jack, "is the story of how
I got down to 150 pounds.
"150 pounds," he repeated complacently.
So complacently, in fact, that it bordered on
smugness. Which prompted an inquiry as
to whether that was the least he'd ever
weighed. "No," admitted Jack, "nine
pounds, four ounces."
{Continued from page 111)
until he can claim his rightful place. As
his friends, Roger Livesey and Valerie
Hobson brave losing their lives for the
sake of an empire, only to be saved in the
nick of time by young Sabu. With Massey
out of the way, our young Prince ascends
the throne and all live happily ever after.
As the British Captain and his wife,
Raymond Massey and Valerie Hobson give
credible and believable performances. Sabu
is charming and improves with each of his
assignments. Raymond Massey comes
through with his usual professional villain
and does it excellently. Desmond Tester
and his supporting cast turn in good char-
acterizations. But as for the film in its
entirety, well, it's the pace that kills —
or the lack of it ! Even the best comedy
lines are repeated so often that they lose
their humor. Why the director permitted
this is a mystery, but then perhaps we
are just as mysterious in our tastes to our
English cousins. Directed by Zoltan Korda.
— Gaunwnf-British.
The "Dead End" kids: standing, Gabriel Dell, Huntz Hall, Billy Halop;
sitting, Bernard Punsley, and Bobby Jordan.
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MODERN SCREEN
(Continued from page 105)
acre estate in the Uplifters' Canyon, Santa
Monica. Leo reads prolifically, has written
volumes of poetry, speaks Spanish, Italian,
French and English as well as a little
Chinese and Japanese. He Is a versatile
athlete, is famous for his outdoor barbe-
cues, and Is a recognized authority on Cali-
fornia history. His real name is Leo An-
tonio Carrlllo. He Is five feet ten Inches
tall, weighs one hundred eighty pounds,
and has brown eyes and black hair. "Little
Miss Roughneck," and "City Streets," were
his two most recent pictures. You may ad-
dress him in care of Columbia Studio, Holly-
wood, California.
W. J. McBroom, Medford, Okla., Dick Foran
is his real name. He was born in Flem-
ington, N. J,, attended prep school and
Princeton University. He is six feet two
inches tall, weighs two hundred five pounds,
has red hair and blue eyes.
Sarah Chapin, Lewisburg, Pa. Joan Davis
was born in St. Paul, Minn., and has been
acting ever since she was three years old.
Her real name is Josephine Davis. She's
happily married and has a three year old
daughter. Her last picture was "Josette."
Her next will be "My Lucky Star." Joan
is five feet five inches tall, weighs one
hundred twenty pounds, has red brown hair
and green eyes. She is an expert bowler,
swimmer and horsewoman. Address her in
care of 20th Century-Fox, Hollywood, Cal.
Ruth Gehrig, Waco, Texas. A brief biogra-
phy of Nelson Eddy appeared In this sec-
tion of the August Modern Screen. A story
appeared in April 1938, a portrait in July,
and there will be another story soon.
A. Wing, Toronto, Canada. Walter Pidgeon
was born in East St. John, New Brunswick,
Can. September 2.3, 1897. He is six feet, two
inches tall, weighs one hundred ninety
pounds, has black hair and gray eyes. His
hobbies are golf and music. He began his
professional career with Elsie Janis In "At
Home." He appeared in vaudeville, and
made phonograph records before entering
the movies.
Marguerite Balzer — Moberly, Mo. Louis
Hayward is his own name. His first pic-
ture was "Sorrell and Son," made in Eng-
land in 19.35. The "Flame Within" was his
first American picture.
Dorothy McNutt, Detroit, Mich. Edward
Arnold was born in New York February
18, 1890. He made his stage debut in "The
Jazz Singer." with Al Jolson. He has been
in movies since 1933.
Nancy Carter, Elbow Beach, Bermuda. Craig
Reynolds was born in Anaheim, California,
a distant descendant of the Jay Gould fam-
ily and the Enfields of rifle fame. His father
is a school principal and Craig's real name
is Hugh Enfield. He is six feet two inches
tall, weighs one hundred eighty pounds, has
gray eyes and black hair. His hobbies are
deep-sea fishing and airplane modeling.
Two of his recent pictures were "Under
Suspicion," and "Making the Headlines."
Address him in care of Columbia Studios,
Hollywood, Cal.
Solution to Puzzle on Page 76
D
O
N
Q
E
L
A
G
L
A
D
y
Q
A
N
E
Q
N
E
y
E
A
D
N
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115
letters from fans have been denied by those close to Miss
Shearer at her studio. Our information is that Miss S. had
no intention of playing Scarlett in the first place, and had
never even considered the role at any time, feeling, even
before her fans did, that it v/asn't her type of thing.
(Continued from page 66)
Dorothy Lamour, who,
attired only in a yard of
cloth, has worked in her
studio's deepest jungles
with everything from leop-
ards to crocodiles, has sud-
denly gone prissy on us —
and just when we were be-
ginning to admire her as a
symbol of everything fine
and rugged in womankind.
The disturbing note turns
up in a paragraph about
the filming of Miss La-
mour's latest venture,
"Spawn of the North."
Concerning a seal named
Slicker, the paragraph said,
"Smelling of his favorite
food — fish — Slicker had to
be doused with eau de co-
jne before doing a scene
with the sensitive Miss La-
mour, who is allergic to
fish." Now, Dottie!
Things are looking up for the cowboy heroes of the
screen. What we mean is that in "The Lady and the Cow-
boy" a cowpuncher wins Merle Oberon. Of course the
cowhand is Gary Cooper, but the fact that Merle Oberon
has never before given in to a strong, silent man from
the sagebrush definitely means that the open-air Romeos
are moving up a notch or two in the screen social scale.
We knew the lovely Miss Oberon when nothing less than
a Noel Coward epigram would budge her.
When Loretta Young finished "Suez," the studio gave her
a month's vacation. Loretta had planned to take a trip but,
since she's now a mother, she had her adopted daughter
Judy to consider. Judy is still too young for travelling, so
Loretta, a dutiful mother, spent her vacation at home, with
a few side trips to Sally Blane Foster's beach home.
As part of the ballyhoo for
"Boy Meets Girl," her stu-
dio had Marie Wilson sell-
ing tickets in the box-office
when the picture opened in
Hollywood. Marie claims
she cost the theater eighteen
dollars because she gave
some of the customers too
much change, and her studio
claims that one young gent
got in line five times to buy
tickets just to be near Marie.
Freddie Bartholomew is
growing up, but his voice is
dropping down — 524 frequen-
cies, according to his studio's
sound department, which
should know about such
things. All of which means
that in Freddie's current pic-
ture, "Listen, darling," they're
really listening (darling), be-
cause the sound recorders
have to control the variations
in young Mr. B.'s tones.
Statistical note: The money the Dionne Quints were
paid for their work in "Five of a Kind" boils down to
$6700 per hour — divided, of course, by five. In other words,
it is almost as profitable (as far as pay per working min-
ute is concerned) to be a Dionne quintuplet as it is to be
heavyweight boxing champion of the world. Unfortunately
for ambitious youngsters, all of those positions are filled.
From friends of Barbara Stanwyck comes a report on
the activities of her handsome young son, Dion. He
came home one afternoon flushed with excitement, and,
when questioned by his mother, he said, "Louise and
Johnny found a dead cat today and they're going to have
a funeral. Can I
go:
Barbara granted the request.
and when Dion returned later she asked about the
funeral. "Well," said Dion, "they didn't have it. The
cat was too dead."
The rumors that Norma Shearer turned down the Scarlett
O'Hara role because she received so many protesting
116
Prlntcil In the U, S. A, by Art Color Pi inllnc Cnmpiiiiy, niinoilcn. N. J.
READ THE COMPLETE STORY OF
"You can make your own heaven, right here, in whatever
moments of beauty you can find," Hank Topping whis-
pered roughly to the frightened girl in his arms.
His words were warm, and earnest because he lived by
them, but to Emmy Jordan they seemed just the futile tools
of a dreamer. Stubbornly she resisted their persuasiveness.
Too long she had kept her secret — now she yielded unre-
sistingly to the maddening chant in her brain.
"Heaven? Though you know you've committed murder?
Heaven, in the broken heart of China ... in the love of an
aimless drifter?"
What hope for happiness could there be for these two out-
casts, brought together in a forgotten corner of the battle-
bruised Orient? Could they ever emerge to make the world
forgive what they had done? Read "By the Dawn's Early
Light," a thrilling adaptation of the 20th Century-Fox pic-
ture, starring Warner Baxter and Alice Faye. It appears
in the November issue of SCREEN ROMANCES.
To know us is to like us, and we want to make the getting
acquainted easy! That's why we're continuing our SPE-
CIAL INTRODUCTORY PLAN— a 6 months' subscrip-
tion for $1.00! You'll save $.50 on the next six issues of
SCREEN ROMANCES, if you mail your check or money
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Please enter my subscription for the next six issues
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